The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s <i>The Lion and The Jewel</i>

David Kwofie; Juliana Daniels

doi:doi:10.11648/j.ijla.20231104.15

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The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel

David Kwofie, Juliana Daniels

Published in International Journal of Literature and Arts (Volume 11, Issue 4)

Received: 11 December 2022 Accepted: 9 January 2023 Published: 17 August 2023

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Abstract

Postcolonialism applies to cultures that have been affected by imperial processes. It is a theoretical approach propounded by experts such as Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha for the exploration of the consequences of colonial interventionism. The theory attempts to deconstruct the impact of imperialistic ideas that emerge from expansionism. This study qualitatively analyses Wole Soyinka’s The Lion and Jewel [1959] from a postcolonial viewpoint. Through textual analysis of dramatic techniques, the study explores how Soyinka takes advantage of the stage as a metaphorical canvas to skillfully present his thoughts about imperialism and African traditions by way of counter-discourse. It also uncovers how the dramatist uses setting, plot, characterization, and linguistic aesthetics to establish that every so often, theoretically obtrusive cultures tend to unearth aspects of cultures that need reform. Howbeit, the study shows that there could be adverse consequences associated with adopting a culture that is entirely foreign and then abandoning one’s own. Additionally, it demonstrates that it is simply impossible to pull up an existing culture and plant in its place another. The study, therefore, concludes that the dramatist effectively deploys the stage as a canvas to prove that cultures need not be dogmatic, nor should they be too pliable to be easily uprooted. Instead, he advocates that cultures can co-exist such that each one complements the other. Soyinka thus manipulates counter-discourse to propose cultural coexistence as a path to cultural harmony as opposed to cultural imperialism.

Published in	International Journal of Literature and Arts (Volume 11, Issue 4)
DOI	10.11648/j.ijla.20231104.15
Page(s)	193-200
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Postcolonial Theory, Imperialism, Deconstruction, Soyinka, Counter-Discourse, African Drama

References

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David Kwofie, Juliana Daniels. (2023). The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. International Journal of Literature and Arts, 11(4), 193-200. https://doi.org/10.11648/j.ijla.20231104.15

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David Kwofie; Juliana Daniels. The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. Int. J. Lit. Arts 2023, 11(4), 193-200. doi: 10.11648/j.ijla.20231104.15

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David Kwofie, Juliana Daniels. The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. Int J Lit Arts. 2023;11(4):193-200. doi: 10.11648/j.ijla.20231104.15

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@article{10.11648/j.ijla.20231104.15,
  author = {David Kwofie and Juliana Daniels},
  title = {The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel},
  journal = {International Journal of Literature and Arts},
  volume = {11},
  number = {4},
  pages = {193-200},
  doi = {10.11648/j.ijla.20231104.15},
  url = {https://doi.org/10.11648/j.ijla.20231104.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20231104.15},
  abstract = {Postcolonialism applies to cultures that have been affected by imperial processes. It is a theoretical approach propounded by experts such as Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha for the exploration of the consequences of colonial interventionism. The theory attempts to deconstruct the impact of imperialistic ideas that emerge from expansionism. This study qualitatively analyses Wole Soyinka’s The Lion and Jewel [1959] from a postcolonial viewpoint. Through textual analysis of dramatic techniques, the study explores how Soyinka takes advantage of the stage as a metaphorical canvas to skillfully present his thoughts about imperialism and African traditions by way of counter-discourse. It also uncovers how the dramatist uses setting, plot, characterization, and linguistic aesthetics to establish that every so often, theoretically obtrusive cultures tend to unearth aspects of cultures that need reform. Howbeit, the study shows that there could be adverse consequences associated with adopting a culture that is entirely foreign and then abandoning one’s own. Additionally, it demonstrates that it is simply impossible to pull up an existing culture and plant in its place another. The study, therefore, concludes that the dramatist effectively deploys the stage as a canvas to prove that cultures need not be dogmatic, nor should they be too pliable to be easily uprooted. Instead, he advocates that cultures can co-exist such that each one complements the other. Soyinka thus manipulates counter-discourse to propose cultural coexistence as a path to cultural harmony as opposed to cultural imperialism.},
 year = {2023}
}

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T1  - The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel
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Y1  - 2023/08/17
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Author Information

David Kwofie

Department of English Education, Faculty of Foreign Languages, University of Education, Winneba, Ghana
Juliana Daniels

Department of English Education, Faculty of Foreign Languages, University of Education, Winneba, Ghana

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David Kwofie, Juliana Daniels. (2023). The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. International Journal of Literature and Arts, 11(4), 193-200. https://doi.org/10.11648/j.ijla.20231104.15

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ACS Style

David Kwofie; Juliana Daniels. The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. Int. J. Lit. Arts 2023, 11(4), 193-200. doi: 10.11648/j.ijla.20231104.15

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AMA Style

David Kwofie, Juliana Daniels. The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel. Int J Lit Arts. 2023;11(4):193-200. doi: 10.11648/j.ijla.20231104.15

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@article{10.11648/j.ijla.20231104.15,
  author = {David Kwofie and Juliana Daniels},
  title = {The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel},
  journal = {International Journal of Literature and Arts},
  volume = {11},
  number = {4},
  pages = {193-200},
  doi = {10.11648/j.ijla.20231104.15},
  url = {https://doi.org/10.11648/j.ijla.20231104.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20231104.15},
  abstract = {Postcolonialism applies to cultures that have been affected by imperial processes. It is a theoretical approach propounded by experts such as Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha for the exploration of the consequences of colonial interventionism. The theory attempts to deconstruct the impact of imperialistic ideas that emerge from expansionism. This study qualitatively analyses Wole Soyinka’s The Lion and Jewel [1959] from a postcolonial viewpoint. Through textual analysis of dramatic techniques, the study explores how Soyinka takes advantage of the stage as a metaphorical canvas to skillfully present his thoughts about imperialism and African traditions by way of counter-discourse. It also uncovers how the dramatist uses setting, plot, characterization, and linguistic aesthetics to establish that every so often, theoretically obtrusive cultures tend to unearth aspects of cultures that need reform. Howbeit, the study shows that there could be adverse consequences associated with adopting a culture that is entirely foreign and then abandoning one’s own. Additionally, it demonstrates that it is simply impossible to pull up an existing culture and plant in its place another. The study, therefore, concludes that the dramatist effectively deploys the stage as a canvas to prove that cultures need not be dogmatic, nor should they be too pliable to be easily uprooted. Instead, he advocates that cultures can co-exist such that each one complements the other. Soyinka thus manipulates counter-discourse to propose cultural coexistence as a path to cultural harmony as opposed to cultural imperialism.},
 year = {2023}
}

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TY  - JOUR
T1  - The Stage as a Canvas: A Postcolonial Analysis of Wole Soyinka’s The Lion and The Jewel
AU  - David Kwofie
AU  - Juliana Daniels
Y1  - 2023/08/17
PY  - 2023
N1  - https://doi.org/10.11648/j.ijla.20231104.15
DO  - 10.11648/j.ijla.20231104.15
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 193
EP  - 200
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20231104.15
AB  - Postcolonialism applies to cultures that have been affected by imperial processes. It is a theoretical approach propounded by experts such as Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha for the exploration of the consequences of colonial interventionism. The theory attempts to deconstruct the impact of imperialistic ideas that emerge from expansionism. This study qualitatively analyses Wole Soyinka’s The Lion and Jewel [1959] from a postcolonial viewpoint. Through textual analysis of dramatic techniques, the study explores how Soyinka takes advantage of the stage as a metaphorical canvas to skillfully present his thoughts about imperialism and African traditions by way of counter-discourse. It also uncovers how the dramatist uses setting, plot, characterization, and linguistic aesthetics to establish that every so often, theoretically obtrusive cultures tend to unearth aspects of cultures that need reform. Howbeit, the study shows that there could be adverse consequences associated with adopting a culture that is entirely foreign and then abandoning one’s own. Additionally, it demonstrates that it is simply impossible to pull up an existing culture and plant in its place another. The study, therefore, concludes that the dramatist effectively deploys the stage as a canvas to prove that cultures need not be dogmatic, nor should they be too pliable to be easily uprooted. Instead, he advocates that cultures can co-exist such that each one complements the other. Soyinka thus manipulates counter-discourse to propose cultural coexistence as a path to cultural harmony as opposed to cultural imperialism.
VL  - 11
IS  - 4
ER  -

Copy | Download