English
Permanent URI for this communityhttps://repository.ui.edu.ng/handle/123456789/285
Browse
96 results
Search Results
Item Sickness as a metaphor in Tony Marinho’s the epidemic(Faculty of Arts, University of Ibadan, Ibadan, 2017) Atolagbe, O.Literature mirrors the complexities that attend life and living. Literary artists over time bend literature into a tool for education and entertainment, advocacy and activism. Tony Marinho’s The Epidemic, an adaptation of Albert Camus’ The Plague, belongs to a field generally regarded as Literature and Medicine, a burgeoning field dedicated to critical engagements with the works of physician-writers. The narrative essentially reconstructs bioethics in a questionably ethical space like Nigeria, and the wanton destruction suffered by the masses because of the insensitivity of the rulers to the plight of the ruled. This paper examines Marinho’s The Epidemic, using aspects of the Postcolonial theory that account for the causes and consequences of colonialism and post-colonialism, and aspects of Freudian Psychoanalysis which account for post-traumatic stress disorders and psychosocial conflicts that result from traumatic experiences. The paper highlights the hellish conditions faced by more than half of the nation’s population: epidemics, maternal and child mortality, malnutrition, inaccessible healthcare services, and many others. The world displayed in the text is one infected and infested with pain and poverty, abuse and misery, denial and denigration. It underlines the fact that the pangs of poverty affect the health institutions much more than accounts portray. Marinho’s art in The Epidemic inverts roles such that victors become victims and even the healthy dine with sickness; sickness thus becomes a metaphor for economic, mental, spiritual, social and cultural poverty. The paper advocates collaborative strategies, interdisciplinary approaches and resourceful researches as the ultimate remedy that would usher in life and wholeness in Nigeria, and in Africa at large.Item And trauma became flesh: terrorism, violence and trauma in Elnathan John’s born on a Tuesday and Helon Habila’s the Chibok girls(2018) Ajibola, O.Literature and terrorism presents an interesting burgeoning field of discourse, especially in the literary and critical enterprise of the post- 9/11 years. This study explores the intersection of terrorism, violence and trauma in Elnathan John’s Born on a Tuesday and Helon Habila’s The Chibok Girls. It applies theoretical and critical insights from the trauma theory to the reading of the two purposively selected texts- John’s Born on a Tuesday and Habila’s The Chibok Girls. The writers’ depiction of the complex nuances of pain, terror, conflict and survival pangs experienced by Dantata, Banda, the Chibok Girls, and the entire northern region in Nigeria, bear witness to the physical, psychological, sociocultural, spiritual, environmental and insidious traumas inflicted upon individuals as well as the community. On the personal and collective levels, trauma has become flesh, and made its dwelling among the populace. Through the employment of such tropes and motifs as repetition compulsion, the trauma trope, the shattering trope, escapism, and the death drive, John and Habila unearth the structures that allow for the perpetuation of trauma and the mechanisms that entrench trauma across the northern Nigeria. John’s Born on a Tuesday and Habila’s The Chibok Girls attest to how violent conflicts and religious extremism interweave in a complex traumatizing network that continues to sear the Nigerian sociocultural and political space.Item ncessant Collapse of Buildings in Nigeria: The Possible Role of the Use of Inappropriate Cement Grade/Strength Class(2014) Agbede O.O; Ajagbe.W OThe use of low quality concrete has been identified as one of the main causes of the incessant collapse of buildings in Nigeria. Emphasis has been on the use of poor quality aggregates, poor workmanship and the use of lean concrete mix with low cement quantity as the reasons for the low quality of concrete used for building construction in Nigeria. Surveys conducted revealed that in the construction of most privately owned buildings where concrete trial mixes and concrete compressive strength quality assurance tests are not conducted, concretes used for building constructions are produced using the 1:2:4 mix ratio irrespective of the cement grade/strength class. In this paper, the possible role of the use of inappropriate cement grade/strength class as a cause of the incessant collapse of building in Nigeria is investigated. Investigation revealed that the compressive strengths of concrete cubes produced with Portland-limestone cement grade 32.5 using 1:2:4 and 1:1.5:3 mix ratios are less than the 25MPa and 30MPa cube strengths generally recommended for building superstructures and foundations respectively. Conversely, the compressive strengths of concrete cubes produced with Portland-limestone cement grade 42.5 using 1:2:4 and 1:1.5:3 mix ratios exceed the 25MPa and 30MPa generally recommended for building superstructures and foundations respectively. Thus, it can be concluded that the use of inappropriate cement grade (Portland-limestone cement grade 32.5), particularly for the construction of building foundations is a potential cause of the incessant collapse of buildings in Nigeria. It is recommended that the Standards Organisation of Nigeria should embark on creating awareness for Nigerians, particularly, the home owners and the roadside craftsmen that Portland-limestone cement grade 32.5 should not be used for the construction of building load-carrying members, particularly, building foundations in order to reduce the incessant incidence of collapsed building.Item Yugen And Iwa Lewa: The Underlying Principle Of Xcellence In Japanese And Yoruba Operatic Theatre(2019) Aguoru, D.Numerous studies on Japanese and Yoruba aesthetics have focused on the elements and ideals that form the essence of both cultures most of which are regarded as graceful and near esoteric. Several of these investigations centre on Japanese and Yoruba aestheticism which is thought to have been as elevated as spiritualism in the Japanese courts and provinces in the tenth century and in the same contexts in pre-colonial, colonial and post-colonial Yoruba Courts. This theatrical inquiry encapsulates aesthetic ideals that are central to the cultural identity of the Yoruba and the Japanese. They include Japanese art- the literary, the performing and fine arts and the Yoruba indigenous performing arts, and ceremonies among others. This paper examines Iwa lewa and Yugen, as theoretical underlying currents in Yoruba Alarinjo and Japanese Noll art. It portrays the concept of beauty across these nationalities as an agency within theoretical agencies engaged bv Zeami Motokiyo and Hubert Ogunde in designing and nurturing Ndh, Japan's ancient operatic theatre and Alarinjo, Nigeria's ancient and earliest professional operatic travelling theatre. Yugen. a concept that has become a profound and fundamental ideology in Japanese theatre, continually generates scholarship. Its near encyclopaedic definition is best summed up as 'elegant beauty' which is largely o f a visual quality, one that translates to a near indescribable but pleasurable experience. Hubert Ogunde's Iwa lewa substantially postulates that significance, rapport and social activity culminate in beauty and edification. Zeami Motokiyo's and Hubert Ogunde's treatises and critical insights as playwrights can be engaged as theoretical agency in examining contemporary and modern forms of Nohplavsand Alarinjo plays. The transformation of Nohfrom simpleplotal episodes ofSaragaku-Ndh into symbolic performances, evolved a form that maintains contemporary relevance. Similarly, Alarinjo evolved from the masque cult to diverse 'deritualized' performances. The postulations of these two dramatists have continued to serve as critical, civic, and political agency within the Japanese and Yoruba theatrical ambit. Noh and Yugen and Alarinjo and Iwa lewa contimieto in form contemporary ideals in Japanese and Yoruba performances, creating a new public evolving from the aesthetic principles, artistic and creative abilities which continue to permeate sensory experiences in both national literatures and cultures.Item Mentoring and Art: A Bio-critical Engagement of Ulli Beier and Duro Ladipo's Lives(Signet Impressions & Designs Ltd, 2018) Aguoru, D.Several studies on Ulli Beier and Duro Ladipo have established that they were precursors in the development and preservation of aspects o f Nigerian indigenous theatrical arts. There have been polemics arising from the critical opinions about the relationship that existed between these two artists and the implication of the influences they wielded, one on the other. Diverse forms of mentoring, an established system o f a co-creative process, is identified as the informal but effective ideology that sustained and reinforced the Beier-Ladipo collaboration. This study bio-critically explores two biographical works, Wole Ogundele's Omoluabi: UlliBeier, Yoruba Society and Culture and Aderemi Raji-Oyelade, Sola Olorunyomi and Abiodun Duro-Ladipo's Duro Ladipo: Thunder God on Stage. The paper engages their subjects beyond their lives to their creative passions that impacted Nigeria as well as the international communities beyond their lifetimes. The unmistakable significance o f mentorship as agency in the Beier-Ladipo collaboration culminated in the emergence of two dramatists, the Duro Ladipo School and a historical form o f the Nigerian operatic travelling theatrical tradition. Examining these antecedents is with a view to interrogating the contemporary value on mentoring relationships on the preservation o f cultureItem Orita ibadan journal of religious studies(2017) Aguoru, D.Trafficking has been described as all activities that entail the conveyance, sheltering and trade in humans within or across national and international boundaries through deceit, kidnap, or other forceful means with the intent of engaging victims in forced services or labour. Trafficking, particularly in women and children, is considered by the international community a fast growing global avarice. Dominant features of the globalised trade include: domestic servitude and prostitution which is different in comparison to the context of the Trans-Atlantic Slave Trade. This study takes on prostitution in trafficking, engaging the inherent potential and the existing influence of the literary writer to conscientise, redefine and reposition the society. This is done by examining portrayals of character-types, development of the plot and depths of the thematic preoccupation and literary elements which have contributed immensely to the redefinition of Africa in Africa, and Africa before the international community. This paper employs Akachi Adimora-Ezeigbo’s Trafficked and Chika Unigwe’s On Black Sisters’ Street, novels that thematically dwell on this global concern. It critically engages national and international postures in examining dimensions of trafficking such as: trafficking as an industry and cartel, prostitution as a vocation for the trafficked, portrayals of the stake holders, portrayals of the victims, value systems that promote the desire of young women to live and earn money abroad, and the psychological, physiological as well as sociological import of being trafficked and being a sex- slave. Trafficked and On Black Sisters ’Street are Nigerian literary templates that serve as conscientisation and deterrence for the class of women this new tool of trade targets.Item Osofisan's Thunder-King and the Recreation of Ladipo‘s Sango(2017) Aguoru, D.Item Ulli Beier, Obotunde Ijimere and Theopaneia in the Imprisonment of Obatala(Department of English, 2016) Aguoru, D.Ulli Beier's attachment to the arts and the peoples of Nigeria is in itself unique. His choices, in association, research and artistic efforts portray this in an unequivocal manner. Obotunde Ijimere, another of Beier's creations, is the author of The Imprisonment of Obatala. This study examines the posture and the context in which Beier perceives the Yoruba, his involvement with the people's theopanic visions and the significance of the experiences to his work in Nigeria.Item A Comparative Analysis of Japanese and Nigerian Operatic Theatre(Department of English, 2012) Aguoru, D.Several studies in Nigerian and in Japanese theatrical traditions have centred on various elements of either of the two dramatic and theatrical traditions. None so far has comparatively examined the two traditions with the intent of establishing distinct national identities,which are concealed in the theatres of peoples, neither has there been an attempt to comparatively institute universality, conformity or unorthodoxy or lack of it in both theatrical traditions. The interests and explorations, by critics of other far more developed national literatures into Japanese dramatic and theatrical tradition, is an indication that this research effort is pertinent. Most transnational and transcontinental comparative studies on Japanese literary traditions have also not ventured beyond the Western world. This pretermits, in the usual manner, the depth and value of African and indeed Nigerian theatrical traditions which are arguably and inextricably rich in comparatives such as trends and forms, elements which have also been globally acclaimed in the international communities. This paper is a comparative examination of Alarinjo and Noh, the operatic theatres of Nigeria and Japan. This analogy is carried out by contrasts; distinguishing the specific features of the forms by comparing differences and is essentially written in counterpoint. This study of the oldest documented professional forms of theatre in Nigeria and Japan seeks to fill some yawing gaps of scholarship in comparative literature, and engage the age long theory of comparative literature as a suitable hypothesis and approach for establishing taxonomies in carrying out this study and other similar studies. It examines how national theatres reflect social, cultural and political issues and also explore the ancient operatic forms to highlight the value of evolving from cultural platforms that are supported by practices that preserve cultural and national identity. This comparatistic inquiry examines movements and trends, motif-types and themes and genre and forms in the operatic theatre of Nigeria and Japan.Item Features of Contemporary African Gynotexts: An Archetypal Reading of Ifeoma Okoye, Fafa Nutsukpo and Florence Attamah’s Writings.(Department of English, 2002) Aguoru, D.