death and the king's horseman
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Death and the King's HorsemanTRANSCRIPT
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Death and the Kings Horseman
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Death and the Kings Horseman by Wole Soyinka
General thoughts
Master-Narratives and
Post-Modernity
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Death and the Kings Horseman by Wole Soyinka
Plays structure
5 acts
Foiling
characters
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Death and the Kings Horseman by Wole Soyinka
Postcolonial readings
Rituals, ceremonies, and
performances
The Other and the practice of Othering
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Death and the Kings Horseman by Wole Soyinka
Of Mimicry and Man: The Ambivalence of Colonial Discourse
Challenges to Enlightenment and Humanist
arguments
The authority of that mode of colonial discourse that I have called mimicry is therefore stricken by an indeterminacy: mimicry emerges as the representation of a difference that is itself a process of disavowal. Mimicry is, thus, the sign of a double articulation; a complex strategy of reform, regulation, and discipline, which appropriates the Other as it visualizes power.
Almost the same but not white: the visibility of mimicry is always produced at the site of interdiction.
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Death and the Kings Horseman by Wole Soyinka
Schechners feedback loop and Restored Behavior
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Death and the Kings Horseman by Wole Soyinka
Close but not quite white
Disrupting the essence of the colonizer and revealing
their own constructednesstheir own performance
Colonizer/Essence Colonized/Mimic
Disrupts the idea of an essence
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Death and the Kings Horseman by Wole Soyinka
The term was coined by the robotics professor Masahiro Mori in 1970 and is linked to Ernst Jentschs concept of The Uncanny identified in his 1906 essay, On the Psychology of the Uncanny. Jentschs concept was furthered by Freud in his 1919 essay, The Uncanny.