Several scholars have carried out investigations on writing errors in second language learning. However, longitudinal studies that focus on the linguistic development in general and lexical competence of the anglophone learners of French, in particular, are still very scarce. An investigation of this sort will give a concise scope of the language development of the anglophone learners of French and some of the factors that are responsible for the errors found in their writing. This study investigates the writing errors of the Obafemi Awolowo University learners of French. The subjects who participated in the study were 14 beginner students. The learners were monitored from their first year of study at the University all through the end of their third year of study. An essay writing exercise was administered on the subjects at the end of their first academic year in 2015/2016. By the end of their second year at the university in 2016/2017 and the end of their third year in 2017/2018, the same essay writing exercise was administered to the same set of students. The study found out that Obafemi Awolowo University learners of French-made frequent errors in their writing. They made repeated errors ranging from wrong spellings, determinants, prepositions, choice of words, overgeneralization, and wrong analogy. The study thus suggested that the learning techniques, teaching methods, and teaching curriculum be regularly reviewed to reflect the language needs of the learners.
{"title":"A longitudinal study of learners’ writing errors in French","authors":"Lukman Adebayo","doi":"10.4314/ujah.v23i1.8","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.8","url":null,"abstract":"Several scholars have carried out investigations on writing errors in second language learning. However, longitudinal studies that focus on the linguistic development in general and lexical competence of the anglophone learners of French, in particular, are still very scarce. An investigation of this sort will give a concise scope of the language development of the anglophone learners of French and some of the factors that are responsible for the errors found in their writing. This study investigates the writing errors of the Obafemi Awolowo University learners of French. The subjects who participated in the study were 14 beginner students. The learners were monitored from their first year of study at the University all through the end of their third year of study. An essay writing exercise was administered on the subjects at the end of their first academic year in 2015/2016. By the end of their second year at the university in 2016/2017 and the end of their third year in 2017/2018, the same essay writing exercise was administered to the same set of students. The study found out that Obafemi Awolowo University learners of French-made frequent errors in their writing. They made repeated errors ranging from wrong spellings, determinants, prepositions, choice of words, overgeneralization, and wrong analogy. The study thus suggested that the learning techniques, teaching methods, and teaching curriculum be regularly reviewed to reflect the language needs of the learners.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125713367","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}
Ritual Dance is an indispensable performance in the Ahaba community in Delta State because it serves as the connecting link between the world of the living, the dead, and the unborn. Unfortunately, ritual dance has received myopic interpretation as a performance that is totally against the Westernized belief system on morality and idolatry, thereby making some ritualistic dances go into extinction. This debased ideology on ritual dance triggered the aim of this study, to sensitize people that all ritual dances are culturally inspired. The researcher sets to examine the different iconic symbols used in the performance, which made each community where they existed stand out and to interrogate why these ageless ritualistic dances are going into extinction and the possible ways of reviving them. The methodology suitable for this research is descriptive and interpretative design methods, where the researcher will collect data and analysed them accordingly. The theoretical framework for this research is the Cultural Identification theory. Findings exposed how some people dread the selected dance because of its initiation style, form, beliefs cum principles, while some who are members already want to denounce their membership, thereby creating more worrisome impressions on the true image of the dance. In conclusion, ritual dance should not be written off out rightly as being mundane, but empirical studies make it communally appreciated and valued. Historically Ahaba communities are made of warriors who fought for the safety of their community during the warrior. A lot of people were killed during the war by Ahaba warriors. But years later the blood of people they killed during wars started tormenting them and causing a lot of havoc among the warriors, especially when they retired. So Ogho ritual dance was introduced as a purification means to cleanse and separate the living warriors from the spirits of the dead.
{"title":"War dances and cultural identities: a study of the Ogbo dance of Ahaba community in Delta State","authors":"N. Akas","doi":"10.4314/ujah.v23i1.4","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.4","url":null,"abstract":"Ritual Dance is an indispensable performance in the Ahaba community in Delta State because it serves as the connecting link between the world of the living, the dead, and the unborn. Unfortunately, ritual dance has received myopic interpretation as a performance that is totally against the Westernized belief system on morality and idolatry, thereby making some ritualistic dances go into extinction. This debased ideology on ritual dance triggered the aim of this study, to sensitize people that all ritual dances are culturally inspired. The researcher sets to examine the different iconic symbols used in the performance, which made each community where they existed stand out and to interrogate why these ageless ritualistic dances are going into extinction and the possible ways of reviving them. The methodology suitable for this research is descriptive and interpretative design methods, where the researcher will collect data and analysed them accordingly. The theoretical framework for this research is the Cultural Identification theory. Findings exposed how some people dread the selected dance because of its initiation style, form, beliefs cum principles, while some who are members already want to denounce their membership, thereby creating more worrisome impressions on the true image of the dance. In conclusion, ritual dance should not be written off out rightly as being mundane, but empirical studies make it communally appreciated and valued. Historically Ahaba communities are made of warriors who fought for the safety of their community during the warrior. A lot of people were killed during the war by Ahaba warriors. But years later the blood of people they killed during wars started tormenting them and causing a lot of havoc among the warriors, especially when they retired. So Ogho ritual dance was introduced as a purification means to cleanse and separate the living warriors from the spirits of the dead.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126040134","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 paper analyses the contending debates on the establishment of marketing boards in colonial Nigeria. It analyses their operations within the purview of colonialist and nationalist perspectives. The paper contends that the British established the boards to protect its imperial and economic interests rather than the price stabilization policy they were primarily created for. It submits that the marketing boards were monopoly institutions the British used to cushion the internal contradictions in its post-Second World War economy. It argues that the paltry infrastructural facilities provided by the British administration were not meant to stimulate development but accidental fallouts of colonialism
{"title":"A historiographical review of contending perspectives on the establishment of marketing boards in colonial Nigeria","authors":"D. Iweze","doi":"10.4314/ujah.v23i1.1","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.1","url":null,"abstract":"The paper analyses the contending debates on the establishment of marketing boards in colonial Nigeria. It analyses their operations within the purview of colonialist and nationalist perspectives. The paper contends that the British established the boards to protect its imperial and economic interests rather than the price stabilization policy they were primarily created for. It submits that the marketing boards were monopoly institutions the British used to cushion the internal contradictions in its post-Second World War economy. It argues that the paltry infrastructural facilities provided by the British administration were not meant to stimulate development but accidental fallouts of colonialism","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124698543","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 need to reduce the complex plot of a drama into a simple, uncomplicated, and enjoyable form through the adaptation of a drama to a story for classroom teaching is the pivot of this work. In traditional African societies, our forefathers used storytelling to teach children the norms and values of society. At the night, during moonlight, the storytelling mode was used, as children gathered under trees to hear stories from elders. Storytelling in the classroom will not only entertain children by making the class work lively and attractive but will also enable the teacher to inculcate all the intended lessons in his set objectives as well as help to mould the child’s character. This work is on the adaptation of Sons and Daughters (drama) by J C De-Graft to a story for classroom teaching. It is a qualitative study and is hinged on Dorothy Heathcote’s postulation that the content of dramatic experience is far more important than literary assumptions. Heathcote views dramatic content as the pivot on which the child’s learning experience revolves because, it will help the child to grow intuitively, and creatively and build confidence which enables him to take decisions. The study concludes that the techniques of adapting drama to story with emphasis on the thematic and dramatic contents as well as the dramatic methods used during the experiments: adaptations, storytelling, role-play, improvisation, reflection, and evaluation, helped the students in the textual interpretation and understanding of the lesson. The study recommends the adoption of participatory techniques to make classroom teaching an enjoyable experience for the teacher and the student.
{"title":"Adaptation of drama to storytelling for classroom teaching: the modern training institute, Uyo experiment","authors":"Emmanuel O. Iroh","doi":"10.4314/ujah.v23i1.10","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.10","url":null,"abstract":"The need to reduce the complex plot of a drama into a simple, uncomplicated, and enjoyable form through the adaptation of a drama to a story for classroom teaching is the pivot of this work. In traditional African societies, our forefathers used storytelling to teach children the norms and values of society. At the night, during moonlight, the storytelling mode was used, as children gathered under trees to hear stories from elders. Storytelling in the classroom will not only entertain children by making the class work lively and attractive but will also enable the teacher to inculcate all the intended lessons in his set objectives as well as help to mould the child’s character. This work is on the adaptation of Sons and Daughters (drama) by J C De-Graft to a story for classroom teaching. It is a qualitative study and is hinged on Dorothy Heathcote’s postulation that the content of dramatic experience is far more important than literary assumptions. Heathcote views dramatic content as the pivot on which the child’s learning experience revolves because, it will help the child to grow intuitively, and creatively and build confidence which enables him to take decisions. The study concludes that the techniques of adapting drama to story with emphasis on the thematic and dramatic contents as well as the dramatic methods used during the experiments: adaptations, storytelling, role-play, improvisation, reflection, and evaluation, helped the students in the textual interpretation and understanding of the lesson. The study recommends the adoption of participatory techniques to make classroom teaching an enjoyable experience for the teacher and the student.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126190490","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}
This paper analyses how gender is constructed by the Tivs through their interpretation of Hamlet in comparison with how Shakespeare projects these characters. Hamlet, a tragic play by Shakespeare, presents a patriarchal system of governance with strong themes of betrayal, love, kinship, religion, and revenge. The lack of agency and autonomy of women, sexual objectification, and their plagues as victims of patriarchy portrayed in Hamlet is a vivid presentation of the fate of women in a patriarchal world. While these may seem universal, the contradictory interpretation of Hamlet by the Tivs in Nigeria demands an inquiry into how the people of Tiv construct and interpret gender in Shakespeare's Hamlet. This paper, therefore, compares the Tiv's culture and gender values with Shakespeare’s Hamlet. The paper argues that the Tiv’s construction of gender contradicts Western conceptions of gruesome patriarchal performance in Africa as presented in Western literature. The analysis revealed that the Tiv’s construction of gender gave more agency, power, and respect to women and differed significantly from how Shakespeare constructed gender in Hamlet. The masculinization of witchcraft and the demeaning of the male characters in Hamlet gave less honour and power to the male characters. Tiv’s interpretations and gender constructions present a rather diverging representation of women in Hamlet based on cultural negotiations and lived experiences; thereby, demonstrating how cultural dynamism shapes gender constructions.
{"title":"Shakespeare in the bush: Gender constructions and interpretations of Hamlet by the West African Tiv","authors":"Abena Asefuaba Yalley","doi":"10.4314/ujah.v23i1.9","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.9","url":null,"abstract":"This paper analyses how gender is constructed by the Tivs through their interpretation of Hamlet in comparison with how Shakespeare projects these characters. Hamlet, a tragic play by Shakespeare, presents a patriarchal system of governance with strong themes of betrayal, love, kinship, religion, and revenge. The lack of agency and autonomy of women, sexual objectification, and their plagues as victims of patriarchy portrayed in Hamlet is a vivid presentation of the fate of women in a patriarchal world. While these may seem universal, the contradictory interpretation of Hamlet by the Tivs in Nigeria demands an inquiry into how the people of Tiv construct and interpret gender in Shakespeare's Hamlet. This paper, therefore, compares the Tiv's culture and gender values with Shakespeare’s Hamlet. The paper argues that the Tiv’s construction of gender contradicts Western conceptions of gruesome patriarchal performance in Africa as presented in Western literature. The analysis revealed that the Tiv’s construction of gender gave more agency, power, and respect to women and differed significantly from how Shakespeare constructed gender in Hamlet. The masculinization of witchcraft and the demeaning of the male characters in Hamlet gave less honour and power to the male characters. Tiv’s interpretations and gender constructions present a rather diverging representation of women in Hamlet based on cultural negotiations and lived experiences; thereby, demonstrating how cultural dynamism shapes gender constructions.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123280277","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}
Death is a necessary end for every mortal. Conveying the news of a married woman’s death to her ancestral home in Igbo land is a delicate task that requires tact and skills. This work sets out to investigate how the message of the passing of a married woman is conveyed to her ancestral home to find out who breaks the news, the strategies involved in doing so, and the reason(s) behind employing such strategies. Five communities were purposively selected in Anambra State for the study. A mixed-method was used to source data. Face and Politeness theory propounded by Penelope Brown and Stephen Levinson serves as a guide for the study. Findings reveal that a spokesman from the deceased’s marital family or the deceased’s children might break the news of their mother/wife’s death. The breaking of the news is done stage by stage - from the stage of their daughter taking ill, to the stage of the ill-health being severe and finally leading to death. The stages involve the use of both verbal and non-verbal communications like idiomatic expressions, proverbs, euphemisms, snapping of fingers, and hisses to show members of her ancestral family how important their daughter was to them, the efforts they made to save her life, and indirectly exonerating themselves from complicity in her death. Additionally, a eulogy is outstanding as a rhetorical device in the exchange between the two families. The study concludes that the Igbo attach a high premium to a wife’s ancestral family, hence the tact in conveying the message.
{"title":"Strategies in obituary announcements of married Igbo women: a review","authors":"Chiamaka Ngozi Oyeka","doi":"10.4314/ujah.v23i1.2","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.2","url":null,"abstract":"Death is a necessary end for every mortal. Conveying the news of a married woman’s death to her ancestral home in Igbo land is a delicate task that requires tact and skills. This work sets out to investigate how the message of the passing of a married woman is conveyed to her ancestral home to find out who breaks the news, the strategies involved in doing so, and the reason(s) behind employing such strategies. Five communities were purposively selected in Anambra State for the study. A mixed-method was used to source data. Face and Politeness theory propounded by Penelope Brown and Stephen Levinson serves as a guide for the study. Findings reveal that a spokesman from the deceased’s marital family or the deceased’s children might break the news of their mother/wife’s death. The breaking of the news is done stage by stage - from the stage of their daughter taking ill, to the stage of the ill-health being severe and finally leading to death. The stages involve the use of both verbal and non-verbal communications like idiomatic expressions, proverbs, euphemisms, snapping of fingers, and hisses to show members of her ancestral family how important their daughter was to them, the efforts they made to save her life, and indirectly exonerating themselves from complicity in her death. Additionally, a eulogy is outstanding as a rhetorical device in the exchange between the two families. The study concludes that the Igbo attach a high premium to a wife’s ancestral family, hence the tact in conveying the message.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127510728","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}
In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.
{"title":"Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists","authors":"Nkiruka Jane Nwafor","doi":"10.4314/ujah.v23i1.5","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.5","url":null,"abstract":"In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130142614","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 Church of Nigeria Anglican communion maintains a strong opposition to homosexuality with members of the church who are found to be homosexuals facing dismissal and ostracism. This work employed a qualitative research design reviewing relevant literature to examine the moral implications of the stand of the church on homosexuality as it affects the church and its members. The position of the church on homosexuality could lead homosexual members of the church to develop psychological problems that could lead to suicide, they could also be secretive about the way they feel thereby leading to many secret homosexuals within the Church and they could resent the church and religion in general. The Church is right in its condemnation of homosexuality but must rethink its stand on homosexuality. The overwhelming grace of God in Christ Jesus demands that the church views the homosexual as a sinner like other sinners who need help to turn away from their sins. The need to maintain a balance is therefore recommended.
尼日利亚圣公会(Church of Nigeria Anglican communion)强烈反对同性恋，被发现是同性恋者的教会成员将面临解雇和排斥。这项工作采用了定性研究设计，回顾了相关文献，以检查教会对同性恋的立场的道德含义，因为它影响了教会及其成员。教会对同性恋的立场可能会导致教会的同性恋成员产生心理问题，可能导致自杀，他们也可能对自己的感受秘而不宣，从而导致教会中有许多秘密的同性恋者，他们可能会怨恨教会和宗教。教会对同性恋的谴责是正确的，但必须重新考虑其对同性恋的立场。神在基督耶稣里的压倒一切的恩典要求教会把同性恋者视为一个罪人，就像其他罪人一样，需要帮助来离开他们的罪。因此，建议需要保持平衡。
{"title":"Homosexuality and the church: Examining the moral implications of the stand of the church of Nigeria (Anglican Communion) against homosexuality","authors":"Ikechukwu Kenneth Okwuosa","doi":"10.4314/ujah.v23i1.6","DOIUrl":"https://doi.org/10.4314/ujah.v23i1.6","url":null,"abstract":"The Church of Nigeria Anglican communion maintains a strong opposition to homosexuality with members of the church who are found to be homosexuals facing dismissal and ostracism. This work employed a qualitative research design reviewing relevant literature to examine the moral implications of the stand of the church on homosexuality as it affects the church and its members. The position of the church on homosexuality could lead homosexual members of the church to develop psychological problems that could lead to suicide, they could also be secretive about the way they feel thereby leading to many secret homosexuals within the Church and they could resent the church and religion in general. The Church is right in its condemnation of homosexuality but must rethink its stand on homosexuality. The overwhelming grace of God in Christ Jesus demands that the church views the homosexual as a sinner like other sinners who need help to turn away from their sins. The need to maintain a balance is therefore recommended.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133287333","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}
This paper examines the syntactic and semantic analytic descriptions of tense in the standard Ígbò and Ìmìlìkè dialect with emphasis on both the affirmative and negative constructions. The study was inspired by the dearth of scholarly work in this aspect of the Igbo language (Niger Congo: Nigeria). The theoretical framework of Bull’s (1963) analysis of Tense and Aspect is adopted. The analysis was justified with the use of concrete examples given from the standard Ígbò and the dialect. The findings reveal that in addition to the occurrence of tense in the standard Ígbò and Ìmìlìkè dialect, there is also a morphological opposition between the present and past tense in both dialects. However, it was observed that there exist tonal distinctions which occur in the derivation of the different tense systems in both dialects in the affirmative and negative constructions. It also reveals that lexical units interact with tone and the components of INFIL (Inflection) to derive either the affirmative or the negative construction appropriately.
{"title":"A Comparative Analysis of Tense in the Standard Ígbò and the Ìmìlìkè Dialects","authors":"Juliana Chizọbam Eze, Ifeoma M. Nweze","doi":"10.4314/ujah.v22i2.6","DOIUrl":"https://doi.org/10.4314/ujah.v22i2.6","url":null,"abstract":"This paper examines the syntactic and semantic analytic descriptions of tense in the standard Ígbò and Ìmìlìkè dialect with emphasis on both the affirmative and negative constructions. The study was inspired by the dearth of scholarly work in this aspect of the Igbo language (Niger Congo: Nigeria). The theoretical framework of Bull’s (1963) analysis of Tense and Aspect is adopted. The analysis was justified with the use of concrete examples given from the standard Ígbò and the dialect. The findings reveal that in addition to the occurrence of tense in the standard Ígbò and Ìmìlìkè dialect, there is also a morphological opposition between the present and past tense in both dialects. However, it was observed that there exist tonal distinctions which occur in the derivation of the different tense systems in both dialects in the affirmative and negative constructions. It also reveals that lexical units interact with tone and the components of INFIL (Inflection) to derive either the affirmative or the negative construction appropriately.","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129397504","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}
This essay redefines the idea of Afropolitanism lost in the world of identity and cultural studies. Defined by Taiye Selasi as a concept that studies persons of African descent who found home everywhere they lived, yet belonged nowhere, this paper holds an opposing view to this interpretation of Afropolitans. We argue that Afropolitans are African diaspora who are (un)consciously slanted to their root in a specific manner; they belong somewhere and the construction and reconstruction of their identity are tied to their root. To re-theorize Afropolitanism in this manner, this research examines Michael Kerr's idea of the post-modern self, showing a comparative account of the pseudo-self and the solid-self, in relation to the Afropolitan identity construction. The re-interpretation of James Clifford’s position on place and space and the examination of Cecil Blake’s ideology of belonging, root, and routes, are critical to my re-reading of the Afropolitan vibe. Although derived from theories of cultural hybridity, transnationalism, cosmopolitanism, and elective affinity, this paper demystifies Afropolitanism by showing how it differs remarkably from these theories in analyzing the underlying questions of frican identity and lived experience. Whilst lived experiences of African diaspora constitute part of the existence of the Afropolitan, we argue that the construction of the Afropolitan identity is not reliant on an acquired identity or lived experience but an ascribed identity and root. Okey Ndibe’s Never Look an American in the Eyes, will serve as the primary text for this analysis, and we conclude this research by articulating how Ndibe and other Afropolitan novelists manipulate culture, language, and race to reflect our position on Afropolitanism.
{"title":"Towards A True Afropolitanism: Reconstructing African Diasporic Identities","authors":"Chike Mgbeadichie, C. Okoye","doi":"10.4314/ujah.v22i2.1","DOIUrl":"https://doi.org/10.4314/ujah.v22i2.1","url":null,"abstract":"This essay redefines the idea of Afropolitanism lost in the world of identity and cultural studies. Defined by Taiye Selasi as a concept that studies persons of African descent who found home everywhere they lived, yet belonged nowhere, this paper holds an opposing view to this interpretation of Afropolitans. We argue that Afropolitans are African diaspora who are (un)consciously slanted to their root in a specific manner; they belong somewhere and the construction and reconstruction of their identity are tied to their root. To re-theorize Afropolitanism in this manner, this research examines Michael Kerr's idea of the post-modern self, showing a comparative account of the pseudo-self and the solid-self, in relation to the Afropolitan identity construction. The re-interpretation of James Clifford’s position on place and space and the examination of Cecil Blake’s ideology of belonging, root, and routes, are critical to my re-reading of the Afropolitan vibe. Although derived from theories of cultural hybridity, transnationalism, cosmopolitanism, and elective affinity, this paper demystifies Afropolitanism by showing how it differs remarkably from these theories in analyzing the underlying questions of frican identity and lived experience. Whilst lived experiences of African diaspora constitute part of the existence of the Afropolitan, we argue that the construction of the Afropolitan identity is not reliant on an acquired identity or lived experience but an ascribed identity and root. Okey Ndibe’s Never Look an American in the Eyes, will serve as the primary text for this analysis, and we conclude this research by articulating how Ndibe and other Afropolitan novelists manipulate culture, language, and race to reflect our position on Afropolitanism. ","PeriodicalId":298106,"journal":{"name":"UJAH: Unizik Journal of Arts and Humanities","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129542594","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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