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POETIC STYLE AND SOCIAL COMMITMENT IN NIYI OSUNDARE’S SONGS OF THE MARKETPLACE
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- Contributor: mr-chris
- engagements: 247
- Case No: 506753pw
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ABSRACT - [ Total Page(s): 1 ]ABSTRACTThis essay studies how oral performance constitutes the core poetic style employed by Niyi Osundare to project social commitment and vision in Songs of the Marketplace. It discusses how the poet’s deployment of oral performance makes his poetry more accessible to a larger audience than those of his predecessors. The pervasive theme of moral degeneration remains a serious concern in the selected poems. Like the oral traditional performance, Osundare employs rich Yoruba oral-literary devices in a way that is unique. His poetic style has a clearly defined concept and role of conc
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CHAPTER ONE - [ Total Page(s): 2 ]THEORETICAL FRAMEWORK The paper adopts Marxist theory as a theoretical approach. As a utilitarian perspective of literature and society, Marxist ideology identifies social and economic factors in the conceptualization of the relationship between the bourgeois and the proletariat. Marxist philosophy upholds that a capitalist society perpetuates oppression of the less privileged class. The Marxist critic thus reacts to the various strata of social and moral decadence. The theory criticizes the political and economic deprivation and promotes the need for social change through revolut ... Continue Reading
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ABSRACT - [ Total Page(s): 1 ]ABSTRACTThis essay studies how oral performance constitutes the core poetic style employed by Niyi Osundare to project social commitment and vision in Songs of the Marketplace. It discusses how the poet’s deployment of oral performance makes his poetry more accessible to a larger audience than those of his predecessors. The pervasive theme of moral degeneration remains a serious concern in the selected poems. Like the oral traditional performance, Osundare employs rich Yoruba oral-literary devices in a way that is unique. His poetic style has a clearly defined concept and role of conc
... Continue Reading
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