This paper explores pragmatic approaches to dealing with issues of sexual harassment within the academy. This is achieved through an analysis of the plot resolutions in two narratives, drawing on Frederic Jameson’s framework of the Political Unconscious. Within this context, the paper examines J. M. Coetzee’s Disgrace and Kunle Afolayan’s Citation asw symbolic acts that explore symbolic resolutions of social contradictions. The selected texts enable a reflection on the BBC’s October 6, 2019 documentary on sex for grades, and nurture a symbolic dimension to appreciating the complexities and power relations in sexual harassment reporting in the academy. The paper demonstrates that the two narratives engage in a broader dialogue with theoretical concepts to speak to the dynamics of mediated sexual scandals.
{"title":"Narrative as a Symbolic Social Act: Sexual Bribery and the Pragmatics of Resolution in J. M. Coetzee’s Disgrace and Kunle Afolayan’s Citation","authors":"C. Sam","doi":"10.4314/ijcrh.v26i1.19","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.19","url":null,"abstract":"This paper explores pragmatic approaches to dealing with issues of sexual harassment within the academy. This is achieved through an analysis of the plot resolutions in two narratives, drawing on Frederic Jameson’s framework of the Political Unconscious. Within this context, the paper examines J. M. Coetzee’s Disgrace and Kunle Afolayan’s Citation asw symbolic acts that explore symbolic resolutions of social contradictions. The selected texts enable a reflection on the BBC’s October 6, 2019 documentary on sex for grades, and nurture a symbolic dimension to appreciating the complexities and power relations in sexual harassment reporting in the academy. The paper demonstrates that the two narratives engage in a broader dialogue with theoretical concepts to speak to the dynamics of mediated sexual scandals.","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126700036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The cultural and creative industries (CCIs) have become very contributory to the development of most economies, both in the developed and the developing worlds. They form the bedrock of the economies of modern societies. The contribution of national theatres of nations across the world, in the component of the creative industry and its contributions to the 21st century economy or new economy is expectedly, immense. More so, as the institution represents a critical phenomenon in the arts and culture sectors. It is against this background that this paper examines the quintessential role of the national theatre (NT) in Nigeria in the overall involvement of the cultural and creative industries (CCIs) to the 21st century economy, with a view to establishing how impactful the institution has been in the dispensation of such roles, identifying its challenges and making helpful recommendations. One-on-one in-depth interviews, focused group discussions and archival resources are largely relied upon, and data obtained subjected to content analysis. Indeed, the national theatre of Nigeria represents, like its counterpart in the developed nations of the world, an iconic pedestal for the CCIs and, therefore, contributes immensely to the Nigeria’s economy.
{"title":"Nigerian National Theatre and the New Economy","authors":"Bridgette R. Yerima, S. Ohenhen","doi":"10.4314/ijcrh.v26i1.8","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.8","url":null,"abstract":"The cultural and creative industries (CCIs) have become very contributory to the development of most economies, both in the developed and the developing worlds. They form the bedrock of the economies of modern societies. The contribution of national theatres of nations across the world, in the component of the creative industry and its contributions to the 21st century economy or new economy is expectedly, immense. More so, as the institution represents a critical phenomenon in the arts and culture sectors. It is against this background that this paper examines the quintessential role of the national theatre (NT) in Nigeria in the overall involvement of the cultural and creative industries (CCIs) to the 21st century economy, with a view to establishing how impactful the institution has been in the dispensation of such roles, identifying its challenges and making helpful recommendations. One-on-one in-depth interviews, focused group discussions and archival resources are largely relied upon, and data obtained subjected to content analysis. Indeed, the national theatre of Nigeria represents, like its counterpart in the developed nations of the world, an iconic pedestal for the CCIs and, therefore, contributes immensely to the Nigeria’s economy.","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132300566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Kenechukwu, A. Ogah, Aloysius Chukwuebuka Ifeanyichukwu
The study examined the correlation between herbal users’ beliefs and the efficacy of herbal medicine based on health information. The study was anchored on the Health Belief Model which predicts health behaviours by focusing on the attitudes and beliefs of individuals. Using survey design, the study was carried out in select towns of Awka, Onitsha and Nnewi which represent three senatorial zones in Anambra State, Nigeria. The sample size of 400 respondents was randomly selected. The questionnaire was the instrument for data collection. Major findings revealed that users’ beliefs do not necessarily add to the potency of herbal drugs. It also revealed that interpersonal communication is most effective through testimonials/referrals by users. Social media is equally effective for an online audience but there is minimal use of mainstream media. Based on the findings, it is recommended that health education and health information should be emphasised. Equally, regulatory bodies in Nigeria such as the National Agency for Food and Drug Administration (NAFDAC) should ensure strict adherence to standards on herbal products and the nature of information and claims.
{"title":"Health Information and Users’ Beliefs: A Study of Herbal Medicine Users’ Attitudes to Efcacy of Herbal Medicine","authors":"S. Kenechukwu, A. Ogah, Aloysius Chukwuebuka Ifeanyichukwu","doi":"10.4314/ijcrh.v26i1.17","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.17","url":null,"abstract":"The study examined the correlation between herbal users’ beliefs and the efficacy of herbal medicine based on health information. The study was anchored on the Health Belief Model which predicts health behaviours by focusing on the attitudes and beliefs of individuals. Using survey design, the study was carried out in select towns of Awka, Onitsha and Nnewi which represent three senatorial zones in Anambra State, Nigeria. The sample size of 400 respondents was randomly selected. The questionnaire was the instrument for data collection. Major findings revealed that users’ beliefs do not necessarily add to the potency of herbal drugs. It also revealed that interpersonal communication is most effective through testimonials/referrals by users. Social media is equally effective for an online audience but there is minimal use of mainstream media. Based on the findings, it is recommended that health education and health information should be emphasised. Equally, regulatory bodies in Nigeria such as the National Agency for Food and Drug Administration (NAFDAC) should ensure strict adherence to standards on herbal products and the nature of information and claims. ","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"303 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124282065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Benins are known for their unique culture which revolves around the revered tradition centred on the Oba (king). Renowned scholars like Nevadomski, Egharevba, Ena Eweka and Aisien have carried out extensive ethnographic research covering such areas as Benin arts and crafts, religion, traditional politics and culture on the people. In contributing to the existing literature in the area of Benin chieftaincy regalia. This article examines how costumes serve as a tool for identifying Benin chiefs in their various categories of chieftaincy groups. The aim is to clarify the confusion of identifying Benin chiefs bearing in mind the similarities that abound in the general traditional dress of the people. Using qualitative research methods, with relevant literature, interview and personal observation, findings reveal that the title of a chief contributes to the construction of the costume of the chief for different purposes.
{"title":"Symbols and Meaning in Dress and Identity Construction in Benin Chieftaincy","authors":"Owens Patricia Eromosele","doi":"10.4314/ijcrh.v26i1.27","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.27","url":null,"abstract":"Benins are known for their unique culture which revolves around the revered tradition centred on the Oba (king). Renowned scholars like Nevadomski, Egharevba, Ena Eweka and Aisien have carried out extensive ethnographic research covering such areas as Benin arts and crafts, religion, traditional politics and culture on the people. In contributing to the existing literature in the area of Benin chieftaincy regalia. This article examines how costumes serve as a tool for identifying Benin chiefs in their various categories of chieftaincy groups. The aim is to clarify the confusion of identifying Benin chiefs bearing in mind the similarities that abound in the general traditional dress of the people. Using qualitative research methods, with relevant literature, interview and personal observation, findings reveal that the title of a chief contributes to the construction of the costume of the chief for different purposes. ","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124318488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous literary scholarship and critical allusions to the evolution of Nigerian literature have unanimously acknowledged the emergence of a third generation of Nigerian poetry. This development which gained accentuation between 1980 and 2000, threw up an avalanche of successors to the second-generation poets, notably: Odia Ofeimun, Tanure Ojaide, Niyi Osundare, Okinba Launko, Catherine Acholonu and Omolara Ogundipe-Leslie. Despite the visible numerical strength of this new generation of writers; their aggregate prolificity and their gross contribution to our national creative output, adequate seminal attention has not been paid to the role of the print media in the catalysation of this milieu. This study, therefore, situates the third generation of Nigerian poets and their works, within the context that they are bonafide products of the print media. They sprouted and flourished in an era where creative activity, triggered by national socio-economic realities, bloomed without collateral and commensurate outlets for the expression of this creative outburst. They have continued to sustain the richness and robustness of Nigeria’s poetic traditions. Their continuing commitment to socio-political engagements has reinforced the enterprise of preceding generations. This study will constitute a veritable reference material on the emerging corpus of critical discourse on the evolution of Nigerian poetry, deriving from the pages of Nigerian newspapers, en route to the 20th century.
{"title":"The Print Media and the Evolution of Third-Generation Nigerian Poetry","authors":"Tunde Olusunle","doi":"10.4314/ijcrh.v26i1.24","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.24","url":null,"abstract":"Previous literary scholarship and critical allusions to the evolution of Nigerian literature have unanimously acknowledged the emergence of a third generation of Nigerian poetry. This development which gained accentuation between 1980 and 2000, threw up an avalanche of successors to the second-generation poets, notably: Odia Ofeimun, Tanure Ojaide, Niyi Osundare, Okinba Launko, Catherine Acholonu and Omolara Ogundipe-Leslie. Despite the visible numerical strength of this new generation of writers; their aggregate prolificity and their gross contribution to our national creative output, adequate seminal attention has not been paid to the role of the print media in the catalysation of this milieu. This study, therefore, situates the third generation of Nigerian poets and their works, within the context that they are bonafide products of the print media. They sprouted and flourished in an era where creative activity, triggered by national socio-economic realities, bloomed without collateral and commensurate outlets for the expression of this creative outburst. They have continued to sustain the richness and robustness of Nigeria’s poetic traditions. Their continuing commitment to socio-political engagements has reinforced the enterprise of preceding generations. This study will constitute a veritable reference material on the emerging corpus of critical discourse on the evolution of Nigerian poetry, deriving from the pages of Nigerian newspapers, en route to the 20th century. ","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129419963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Traditional performances in Africa are cherished and honoured with divinity despite the advent of modernity. These performances are taken with the seriousness of life and death because they embody the people’s culture, beliefs, life and life after death. Consequently, these performances are often accompanied by music, dance, songs, masquerades and so on to actualise and merge their corporal and spiritual cosmos. Therefore, the technicality of costume, make-up, props, performance space and so on are harnessed and utilised to establish the performance and to bring out the message, meaning and aesthetics in the performances. The study employs descriptive and analytical methods, complemented with materials from books, journal articles and appropriate internet sources. Findings reveal that technical aesthetics defines the performance, brings out its beauty and establishes the Idoma cultural identity. The paper concludes that technical aesthetics of costume, make-up, props and performance space create communication and identity in Idoma culture. We, therefore, recommend that traditional performances should be encouraged and sustained to unite and maintain the people’s identity, using it as a cultural voice for the Idoma people.
{"title":"Application of Technical Aesthetics of Costume, Make-up, Props and Performance Space in Idoma Traditional Performance Theatre","authors":"A. Amali","doi":"10.4314/ijcrh.v26i1.28","DOIUrl":"https://doi.org/10.4314/ijcrh.v26i1.28","url":null,"abstract":"Traditional performances in Africa are cherished and honoured with divinity despite the advent of modernity. These performances are taken with the seriousness of life and death because they embody the people’s culture, beliefs, life and life after death. Consequently, these performances are often accompanied by music, dance, songs, masquerades and so on to actualise and merge their corporal and spiritual cosmos. Therefore, the technicality of costume, make-up, props, performance space and so on are harnessed and utilised to establish the performance and to bring out the message, meaning and aesthetics in the performances. The study employs descriptive and analytical methods, complemented with materials from books, journal articles and appropriate internet sources. Findings reveal that technical aesthetics defines the performance, brings out its beauty and establishes the Idoma cultural identity. The paper concludes that technical aesthetics of costume, make-up, props and performance space create communication and identity in Idoma culture. We, therefore, recommend that traditional performances should be encouraged and sustained to unite and maintain the people’s identity, using it as a cultural voice for the Idoma people.","PeriodicalId":297503,"journal":{"name":"International Journal of Current Research in the Humanities","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125196107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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