Abstract Death and King’s Horseman showcases a condition of cultural rupture. Wole Soyinka’s manner of realizing this is through theoretical adventure that reveals his own very postmodernist imaginings, perhaps prior to the play’s composition but certainly at “the creative furor”. Recognizing and focusing on an overriding theoretical influence in a composite artistic production such as Death would significantly defuse the burden of interpreting Death which on its own constitutes a distinct unit in Soyinka’s repertoire of creative writings labelled as complex and obscure. The present study reveals the play’s robust discursive worth by identifying and exploring its postmodernist constitutive parameters. As the study further reinforces the claim that the playwright is cultural analyst of the avant-gardist category, the postmodernist figuration of the play deserves to be noted for all it entails and should inspire renewed criticism of the text, whose canonical status promises a prolonged regime in African and world literary studies.

中文翻译：

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戏剧化流产的仪式：Wole Soyinka之死和国王的骑士中的后现代主义想象

摘要 《死亡与国王的骑士》展示了一种文化断裂的状况。Wole Soyinka 实现这一点的方式是通过理论冒险，揭示他自己非常后现代主义的想象，也许在剧本创作之前，但肯定是在“创造性的狂热”中。认识到并关注诸如死亡之类的复合艺术作品中压倒一切的理论影响，将大大减轻解释死亡的负担，死亡本身构成了索因卡被标记为复杂和晦涩的创作作品曲目中的一个独特单元。本研究通过识别和探索其后现代主义的构成参数，揭示了该剧的强大话语价值。随着研究进一步强化了剧作家是先锋派文化分析家的说法，