Volume 30 (2011) - Cincinnati Romance Review

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128 DOSINDA GARCÍA ALVITE classical Greece to Equatorial Guinea in contemporary times. And beyond this type of changes, her transculturation also reveals itself as Afrocentrist and womanist. Her Antígona uses dance to create community and facilitate its healing, as in traditional African dances performed by women. Furthermore, the use of drums creates a proper African setting, and drum language supports and emphasizes the message of liberation of the play and becomes highly relevant to communicate to an orally educated audience. It is clear then, that for Trinidad Morgades Besari literature is produced on the belief that human condition can change, and her Antígona can work as a tool to transform the specific conditions of Equatorial Guinea. WORKS CITED Aydemir, Murat and Alex Rotas, eds. Migratory Settings. “Introduction. Migratory Settings.” 7-31. Bacon, Helen H. “The Chorus in Greek Life and Drama.” Arion 3.1 (1994-5): 6-24. Carlson, Marla. “Antigone’s Bodies: Performing Torture.” Modern Drama 46.3 (2003): 381-403. Dearling, Robert, ed. The Illustrated Encyclopedia Of Musical Instruments. New York: Schrimer Books, 1995. Decalo, Samuel. Psychoses of Power: African Personal Dictatorships. Boulder: Westview Press, 1989. Diala, Isidore. “Ritual and Mythological Recuperation in the Drama of Esiaba Irobi.” Research in African Literatures 36.4 (2005): 87-114. Dove, Nah. “African Womanism: An Afrocentric Theory.” Journal of Black Studies 28.5 (1998): 515-39. Goff, Barbara and Michael Simpson. Crossroads in the Black Aegean. Oedipus, Antigone, and Dramas of the African Diaspora. Oxford: Oxford University Press, 2007. Guyomard, Patrick. “Antígona, para siempre contemporánea” Desde el jardín de Freud: revista de psicoanálisis 5 (2005): 68-77. Hudson-Weems, Clenora. Africana Womanism: Reclaiming Ourselves. 3rd rev. ed. Troy, MI: Bedford, 1995. Jackson, Robert H., Carl Gustav Rosberg. Personal Rule in Black Africa: Prince, Autocrat, Prophet, Tyrant. Berkley and Los Angeles: University of California Press, 1982. Lane, Jill. “Antígona and the Modernity of the Dead” Modern Drama 50:4 (2007): 517- 31. Lewis, Marvin. An Introduction to the Literature of Equatorial Guinea. Between Colonialism and Dictatorship. Columbia and London: University of Missouri Press, 2007. Modupe Kolawole, Mary E. Womanism and African Consciousness. Trenton, N.J: Africa World Press, 1997. Cincinnati Romance Review 30 (Winter 2011): 117-129.
WOMANISM AND SOCIAL CHANGE 129 Morgades Besari, Trinidad. “Antígona.” Literatura de Guinea Ecuatorial (Antología). Donato Ndongo-Bidyogo, Mbaré Ngom, eds. Madrid: Casa de Africa, 427-33. Mushengyezi, Aaron. “Rethinking Indigenous Media: Rituals, ‘Talking’ Drums and Orality as Forms of Public Communication in Uganda.” Journal of African Cultural Studies 16.1 (2003): 107-117. Ndongo, Donato. “El marco de la literatura de Guinea Ecuatorial.” Literatura de Guinea Ecuatorial. Donato Ndongo-Bidyogo and Mbaré Ngom, eds. Madrid: Casa de Africa, 2000. Osofisan, Femi. “Theater and the Rites of ‘Post-Negritude’ Remembering” Research in African Literatures 30.1 (1999): 1-11. Ong, Walter. “African Talking Drums and Oral Noetics” New Literary History 8.3 (1977): 411-29. Rodríguez Monescillo, Esperanza. “El tema del sacrificio voluntario en la “Antígona” de Sófocles y sus versiones euripídeas. Estudios clásicos 36.105 (1994): 9-33. Salo, Elaine, Amina Mama. “Talking about Feminism in Africa” Agenda 50 (2001): 58- 63. Steiner, George. Antigones. New York: Oxford University Press, 1984. Sundiata, Ibrahim. Equatorial Guinea. Colonialism, State Terror, and the Search for Stability. Westview: Boulder, San Francisco & London, 1990. Wannamaker, Annette. “‘Memory Also Makes a Chain’: The Performance of Absence in Griselda Gambaro’s ‘Antígona Furiosa.’” The Journal of the Midwest Modern Language Association 33.3-34.1 (2000-01): 73-85. Cincinnati Romance Review 30 (Winter 2011): 117-129.
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CINCINNATI ROMANCE REVIEW AFRO-HISP
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Guest Editor Patricia Valladares-Ru
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Presentación Patricia Valladares-R
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Presentación Patricia Valladares-R
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Por el cielo y más allá de Carme
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POR EL CIELO Y MÁS ALLÁ DE CARME
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Gabino Ezeiza y su recuperación de
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primero en Coupolipón. GABINO EZEI
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