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Death and the King's Horseman
In: Review of African political economy, Band 36, Heft 121
ISSN: 1740-1720
On Rereading "The Bronze Horseman"
In: Canadian Slavonic papers: an interdisciplinary journal devoted to Central and Eastern Europe, Band 29, Heft 2-3, S. 228-240
ISSN: 2375-2475
The first horseman: disease in human history
In: Connections : key themes in world history
KOMMT EIN KENTAUR IN EINE BAR. ÜBER BOJACK HORSEMAN UND ANDERE MISCHWESEN
In: Pop: Kultur und Kritik, Band 7, Heft 1, S. 158-176
ISSN: 2198-0322
The return of the black horseman
In: Index on censorship, Band 20, Heft 2, S. 10-12
ISSN: 1746-6067
Bulgaria's Prime Minister, Andrei Lukanov, elected in June 1990, resigned on 29 November 1990. His downfall was caused by economic failure but, despite suffering 46 years of Communist rule, literature stands a better chance of success
On the Flood in "The Bronze Horseman"
In: Japanese Slavic and East European studies, Band 11, Heft 0, S. 59-78
ISSN: 0389-1186
On the Preface to "The Bronze Horseman"
In: Japanese Slavic and East European studies, Band 15, Heft 0, S. 85-96
ISSN: 0389-1186
The Idol's Space: Visual Structures in The Bronze Horseman
In: Novoe literaturnoe obozrenie, Heft 6, S. 130-162
ISSN: 2309-9968
Dramatic Dissent in Wole Soyinka's Metaphysical Play Death and the King's Horseman (1975) and Biyi Bandele's Netflix Adaptation Elesin Oba: The King's Horseman (2022)
In: Matatu, Band 54, Heft 2, S. 173-203
ISSN: 1875-7421
Abstract
Approaching the theme of this special issue as a dramatic structure, the contribution investigates the representation of dissenting practices in Wole Soyinka's Death and the King's Horseman and Biyi Bandele's Elesin Oba: The King's Horseman. First published in 1975, Soyinka's metaphysical play dramatises the events surrounding the eponymous protagonist Elesin Oba who, according to Yoruba cosmology, must follow the king in death to ensure harmony between this world and the next. Questioning both metaphysical and Marxist readings of the play, I argue that its employment of ritual as a dramaturgical device functions to explore the intricate reasons for failed leadership in post-independence Nigeria. This re-reading of Soyinka's classic is informed by its recent screen adaptation, Elesin Oba: The King's Horseman, which was co-produced by Ebonylife Films and Netflix and directed by the late Nigerian playwright and filmmaker Biyi Bandele. Reinforcing new Nollywood's budding relationship with Netflix and its accompanying globalisation, Bandele's movie appropriates the play's dramatic structure of dissent on the levels of cinematography and editing, mise-en-scène and sound, inviting its transnational viewers to consider past and present manifestations of dissent as a means of managing and envisioning possible solutions to contemporary conflicts. The conclusion stresses that the ritual form presents a flexible device to interrogate historically specific power relations and encourage distinct generations of audiences to imagine their forms, causes, and alternatives; whereas Soyinka's play suggests that these alternatives rest on the capabilities of the educated middle classes, Bandele's movie constructs more diversified audiences which may settle for its consoling or dissenting aesthetics, respectively.
Pushkin's 'The Bronze Horseman' by Andrew s> Kahn (review)
In: The Slavonic and East European review: SEER, Band 80, Heft 2
ISSN: 2222-4327