Iyunolu Osagie teaches English and African studies at Pennsylvania State University.

With her latest book, African Modernity and the Philosophy of Culture in the Works of Femi Euba, Iyunolu Osagie achieves two critical goals: she delivers an intricate study of the corpus of Euba’s works and at the same time she offers an important perspective on the discourse of tradition and modernity from the prism of African metaphysics. . . . In all, African Modernity and the Philosophy of Culture in the Works of Femi Euba is a thorough exposition into not only the works, but also the artistic career of Femi Euba. Osagie’s personal relationship with Euba brings the book alive in a certain way—the book is peppered with various anecdotes that offer peculiar insight into the ideas and events that inform Euba’s dramaturgy and scholarship, as well as the critical arguments Osagie makes about his works. This book is, without doubt, a valuable addition to the scholarship on Yoruba cosmology, transnational and diasporic African identity, globalization, and modernity. The book will also serve as a useful resource to those who are studying, teaching, or researching Femi Euba and his works.

• Foreword, by John Wharton LowePrefaceChapter 1: Archetypes of ModernityChapter 2: Tradition, Modernity, and the Axiological Present in The Gulf and The Eye of GabrielChapter 3: Black Theatre and the Politics of Adaptation in Dionysus of the HolocaustChapter 4: Who Pulled the Trigger? Ritual Endings in Femi Euba’s A Riddle of the Palms, Crocodiles, and The ChameleonChapter 5: Esu as Shape Shifting Word: Modernity, African Gnosis, and Global Reverberations in Camwood at CrossroadsAfterword: The Performance of CultureBibliography

Iyunolu Osagie teaches English and African studies at Pennsylvania State University.

With her latest book, African Modernity and the Philosophy of Culture in the Works of Femi Euba, Iyunolu Osagie achieves two critical goals: she delivers an intricate study of the corpus of Euba’s works and at the same time she offers an important perspective on the discourse of tradition and modernity from the prism of African metaphysics. . . . In all, African Modernity and the Philosophy of Culture in the Works of Femi Euba is a thorough exposition into not only the works, but also the artistic career of Femi Euba. Osagie’s personal relationship with Euba brings the book alive in a certain way—the book is peppered with various anecdotes that offer peculiar insight into the ideas and events that inform Euba’s dramaturgy and scholarship, as well as the critical arguments Osagie makes about his works. This book is, without doubt, a valuable addition to the scholarship on Yoruba cosmology, transnational and diasporic African identity, globalization, and modernity. The book will also serve as a useful resource to those who are studying, teaching, or researching Femi Euba and his works.

• Foreword, by John Wharton LowePrefaceChapter 1: Archetypes of ModernityChapter 2: Tradition, Modernity, and the Axiological Present in The Gulf and The Eye of GabrielChapter 3: Black Theatre and the Politics of Adaptation in Dionysus of the HolocaustChapter 4: Who Pulled the Trigger? Ritual Endings in Femi Euba’s A Riddle of the Palms, Crocodiles, and The ChameleonChapter 5: Esu as Shape Shifting Word: Modernity, African Gnosis, and Global Reverberations in Camwood at CrossroadsAfterword: The Performance of CultureBibliography

Iyunolu Osagie teaches English and African studies at Pennsylvania State University.

With her latest book, African Modernity and the Philosophy of Culture in the Works of Femi Euba, Iyunolu Osagie achieves two critical goals: she delivers an intricate study of the corpus of Euba’s works and at the same time she offers an important perspective on the discourse of tradition and modernity from the prism of African metaphysics. . . . In all, African Modernity and the Philosophy of Culture in the Works of Femi Euba is a thorough exposition into not only the works, but also the artistic career of Femi Euba. Osagie’s personal relationship with Euba brings the book alive in a certain way—the book is peppered with various anecdotes that offer peculiar insight into the ideas and events that inform Euba’s dramaturgy and scholarship, as well as the critical arguments Osagie makes about his works. This book is, without doubt, a valuable addition to the scholarship on Yoruba cosmology, transnational and diasporic African identity, globalization, and modernity. The book will also serve as a useful resource to those who are studying, teaching, or researching Femi Euba and his works.

• Foreword, by John Wharton LowePrefaceChapter 1: Archetypes of ModernityChapter 2: Tradition, Modernity, and the Axiological Present in The Gulf and The Eye of GabrielChapter 3: Black Theatre and the Politics of Adaptation in Dionysus of the HolocaustChapter 4: Who Pulled the Trigger? Ritual Endings in Femi Euba’s A Riddle of the Palms, Crocodiles, and The ChameleonChapter 5: Esu as Shape Shifting Word: Modernity, African Gnosis, and Global Reverberations in Camwood at CrossroadsAfterword: The Performance of CultureBibliography