Untitled - Memorial University of Newfoundland

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ACKNOWLEDGEMENTS I would like to thank my husband, John, and family for their loving support and encouragement that wascrucial to the completion of my thesis . I am grateful to my supervisor , Dr. Peter K. Ayers, for his time. perceptive comments and guidance. I wish to thank Memorial Universi ty of Newfoundland for awardin g me a Graduate Fellowship and The Very Reverend Edward and Marjori e Rusted Harlow Travel Gran t which made valuable research in England possible. My thanks to the staff of the Queen Eliz.a.beth ITLibrary of Memorial University, partic ularly those in the Inter library Loans department. My gratitude to all the instruc tors in both the Department of Classics and the. Department of English Language and Literamre who contributed to my academic career and love for scholarly wor k. I am grateful to Professor Richard Buchler whose dedication to dramaltheatre was an inspiration to me, and Dr. Stella A1g00-Baksb whose course on Postcolonial Literature helped to crystallize the theoretical framework of my thesis . I appreciate all my friends and colleagues for their prayerful supportand encouragement. Thi s work is dedicated in loving memory of my paren ts. Millicent Eme1ia Iohnson (nee Morri son) and Samuel Williamson Johnson. iv
Page 5: 51. 101m'S RImlINKING GREEK TRAGEDY
Page 10 and 11: PREFACE Dissimilar in most respects
Page 13 and 14: originals were charged with ideolog
Page 15 and 16: efuses to , because to do so is to
Page 17 and 18: Ashcroft. Gareth Griffiths and Hele
Page 20 and 21: to own one-third of the land . Whil
Page 22 and 23: plantations and the co ffee plantat
Page 24: The period of formal colonization b
Page 27 and 28: As pan of a larger discourse about
Page 29: The point is this that, to quote wh
Page 33 and 34: eviden t not only in the language o
Page 38 and 39: EJik. Nlcosisuggests that the myth
Page 40 and 41: diary and write letters. While she
Page 42 and 43: writers. Ngugi wa Thiong'o and othe
Page 45: colonizers', but they can also mani
Page 52 and 53: (invol untary) reci pients of so-ca
Page 55: arber collapsesfrom hunger and whil
Page 58 and 59:
Rotimi 's commitment to the advance
Page 60 and 61:
Then I saw Oedipus ' mother. the lo
Page 63 and 64:
western culture evolved from the dr
Page 66 and 67:
verb oideo meaning "swell" or "beco
Page 70 and 71:
in Kutuje, he tells the people not
Page 74:
Various types of music, both vocal
Page 78 and 79:
and assume power over the land? (64
Page 81 and 82:
eflecting their social relevance in
Page 84 and 85:
y some error or frailty - (X l ll.1
Page 86 and 87:
there arc numerous references to th
Page 88 and 89:
Rotimi draws from his knowledge of
Page 90 and 91:
the god speak:ing through the (fa p
Page 92 and 93:
Oedipus says that the oracles are w
Page 94 and 95:
victim. The Priest performs the cus
Page 97 and 98:
friends" (II.49 .8). Whereas Oedipu
Page 99 and 100:
inborn and therefore, perhaps. incu
Page 101 and 102:
which is not apparent in the openin
Page 103:
society that depends on the benevol
Page 106 and 107:
most obtrusive of African national
Page 108 and 109:
created by the English language in
Page 111:
embellishments to the language" (18
Page 119:
27. For eumple. sacrifices offered
Page 123:
his introduction to the Bacchae ass
Page 127 and 128:
fight against political , social an
Page 129:
esist political, social and cultura
Page 134 and 135:
eing and she produced Uranus. Toget
Page 136 and 137:
Labdacus and grandfather of Oedipus
Page 139:
Euri pides gives enough information
Page 142 and 143:
think themselves to be above the go
Page 144:
and Ogun wasput in charge of all th
Page 151:
oppressed , politically or otherwis
Page 154 and 155:
etc . - was, in a sense, a discipli
Page 156 and 157:
gen erally reduced to mechanical an
Page 158:
predominantly British audience. In
Page 161 and 162:
Notice that the carrier takes all t
Page 163 and 164:
which invo lved the whole community
Page 165 and 166:
prepares mentally and physically fo
Page 167 and 168:
loody and tumultuous, an extravagan
Page 169 and 170:
there is a slave uprisin g Pentheus
Page 172:
Soyinka's dramatization of two wedd
Page 175 and 176:
older than the ancestor-world " (10
Page 179:
166 By changing the epilogue of Eur
Page 187 and 188:
of both words can be applied to the
Page 189:
oth plays explore alter/native mode
Page 194:
Enekwe , Onuora Ossie. "Interview w
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Untitled - Memorial University of Newfoundland

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