Academic literature on the topic 'Legal drama, Nigerian (English)'
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Journal articles on the topic "Legal drama, Nigerian (English)"
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King, Bruce, and Chris Dunton. "Make Man Talk True: Nigerian Drama in English since 1970." World Literature Today 67, no. 3 (1993): 659. http://dx.doi.org/10.2307/40149513.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Degen, John A. "CULTURAL IDENTITY AND CROSS-CULTURAL ASSIMILATION: THE CASE OF NIGERIAN DRAMA IN ENGLISH." South African Theatre Journal 1, no. 2 (January 1987): 52–62. http://dx.doi.org/10.1080/10137548.1987.9687601.
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Ajanwachuku, Akpa Michael. "An Examination of Customary and Statutory Legal Meaning of a Child in Nigeria: a Stream of Two Water that does not Mix." FIAT JUSTISIA:Jurnal Ilmu Hukum 11, no. 1 (December 11, 2017): 30. http://dx.doi.org/10.25041/fiatjustisia.v11no1.685.
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The Nigerian legal system is pluralistically consisting of statutory law, which is derived from received English law and native customary law. The latter is made subservient to the former through the validity tests. This paper examined the position of the two regimes on the meaning and definition of the child and the legal consequences that arise from it. The paper found that while the two legal regimes conceptualize the ‘child’ differently, there is an acute internal divergence of who a child is, within each of these regimes. The paper recommended both the internal and inter-systemic harmonization of the meaning and definition of the child within the Nigerian legal system. Keywords: Nigerian Child, Customary Law, Statutory Law, Validity Tests, Child’s Rights Act
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Zottola, Angela. "Legal Drama and Audiovisual Translation: The Role of Legal English in the Construction of Stereotyped Representations." Studies in Logic, Grammar and Rhetoric 49, no. 1 (March 1, 2017): 247–68. http://dx.doi.org/10.1515/slgr-2017-0015.
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AbstractConsidering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen (2008) and Diaz Cintas (2008) in the field of Audiovisual Translation (AVT), the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes.
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Nwabueze, Remigius N. "Dead Bodies in Nigerian Jurisprudence." Journal of African Law 51, no. 1 (April 2007): 117–50. http://dx.doi.org/10.1017/s0021855306000234.
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AbstractRecent events and a few judicial decisions in Nigeria show the need for a serious analytical engagement with the law relating to dead bodies. Topical issues from these cases focus on jurisdiction, the right to control the disposition of remains, and remedies available for the infringement of a burial right. While the meaning and content of sepulchral rights remain the same in Nigeria as in many industrialized nations, its prioritization is markedly different. In contrast to the highly individualized nature of burial rights in many Western legal systems, the control of sepulchral right in Nigeria is familial in character. In some circumstances, however, recourse may be had to statutory provisions that import English priority rules. While a range of remedies is available for an interference with a burial right, injunctions and declarations are the most sought after by Nigerian litigants. An expedited hearing is preferable to an interlocutory order of injunction.
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Odujirin, Kemi. "“Ill-Legal” Constraints on the Exercise of Administrative Disciplinary Powers in Nigerian Law." Journal of African Law 34, no. 2 (1990): 128–31. http://dx.doi.org/10.1017/s0021855300008263.
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Can a domestic tribunal or an administrative disciplinary committee try a person for a criminal offence? The answer is clearly no. But can such a tribunal, in the exercise of its disciplinary powers, try a person for misconduct even though the acts amounting to such misconduct are in the nature of criminal offences? The Nigerian Supreme Court has given a negative answer to this latter question. The aim of this short article is to show that the answer puts “ill-legal” constraints on the administrative disciplinary powers of such tribunals.The history of the problem dates back to 1968. In Denloye v. Medical and Dental Practitioners' Disciplinary Tribunal, counsel for the plaintiff raised the issue of the competence of a disciplinary tribunal to try a person for acts alleged to amount to infamous conduct in a professional respect where the acts were in the nature of criminal offences. Although the court did not consider the issue, it nevertheless observed (in the typical fashion of regarding English law as a palimpsest of Nigerian law) that the practice under the English Medical Act, 1956 which was that allegations of unprofessional conduct in the nature of offences were not dealt with under the Act in the first instance but were left to the courts, and, after conviction, disciplinary actions would follow, was the intention in Nigeria.
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Rudolph, Julia. "Rape and Resistance: Women and Consent in Seventeenth-Century English Legal and Political Thought." Journal of British Studies 39, no. 2 (April 2000): 157–84. http://dx.doi.org/10.1086/386215.
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During the Exclusion crisis, the figure of a tyrant rapist, a ruler undone by his own lust and cruelty, briefly appeared on the London stage. Early in December 1680, Nathaniel Lee's Lucius Junius Brutus was performed by the Duke's Company in the Dorset Garden Theater. Lee's play recounted the tale of the rape of Lucretia and the subsequent actions taken by Brutus in resistance to this act of tyranny. This theatrical production was by all accounts a success, yet the play was banned from the stage after only six days; the order of the Lord Chamberlain stated objections to its “very Scandalous Expressions & Reflections upon ye Government.” Lee's Brutus was, however, soon available in print, published by Richard and Jacob Tonson in June of 1681. Like other Exclusion publications, Brutus offered a powerful argument against tyranny and arbitrary government, and the play was evidently construed as an attack on the Stuart monarchy. Many modern commentators have specifically noted the anti-Catholic overtones of Lee's drama and have read it within the context of the Popish Plot scare. Yet the central theme of Lee's play is, of course, the association between tyranny and rape: it is the tyrant's violation of woman (not of religion) that justifies resistance. In Lee's drama, just as in Livy's history, the chaste and honorable Roman matron Lucretia is raped by “the lustful bloody Sextus,” a prince of the proud and tyrannical house of Tarquin. In both stories, Lucretia's rape and her subsequent suicide set off a train of revolutionary events: Brutus seizes the bloody knife from Lucretia's twice-violated body and, holding it to his lips, vows with his fellow Romans never to suffer Tarquin “nor any other king to reign in Rome.”
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Haring, Lee, and Samson O. O. Amali. "An Ancient Nigerian Drama. The Idoma Inquest, a Bilingual Presentation in Idoma and English, together with "Odegwudegwu," an Original Bilingual Play in Idoma and English." Journal of American Folklore 100, no. 397 (July 1987): 371. http://dx.doi.org/10.2307/540356.
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Blanco, Elena Merino, and Ben Pontin. "Litigating Extraterritorial Nuisances under English Common Law and UK Statute." Transnational Environmental Law 6, no. 2 (December 20, 2016): 285–308. http://dx.doi.org/10.1017/s2047102516000303.
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AbstractEnglish common law and United Kingdom legislation provide various – overall liberal – jurisdictional grounds for hearing foreign tort claims. The article examines these grounds with reference to recent and ongoing oil pollution nuisance litigation involving Royal Dutch Shell Plc and its Nigerian subsidiary operating in the Niger Delta. Particular attention is given to the factors taken into account by the court in exercising its discretion to allow service out of the jurisdiction in cases of pollution taking place abroad under the principle offorum non conveniens. Following the widely commented decision of the United States Supreme Court inKiobelv.Royal Dutch Petroleum Corporation, which ruled against the extraterritorial application of the Alien Tort Statute, it is easy to forget that the rules of jurisdiction vary from country to country and that different legal systems apply similar concepts in often radically different ways. Attention is also given to the future development of English jurisdictional law and practice in the context of environmental nuisance.
Dissertations / Theses on the topic "Legal drama, Nigerian (English)"
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Mukherji, Subha. "Issues of evidence, interpretation and judgement in Renaissance English drama, c. 1580-1640." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275396.
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McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
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Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.
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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.
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Saint, Marie Katina. "The Changing Face of Property: Land and Bodies in Early Modern English Literature and Contemporary Legal Trends." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19326.
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Early Modern drama, particularly that of Thomas Middleton, John Webster, and Ben Jonson, reveal the importance of property law in England in the late sixteenth and early seventeenth centuries. Their treatment of property law not only reflects and comments on the changes in property law and contract law of the period, but, in many surprising ways, it also anticipates our twentieth- and twenty-first-century discussions of property law as it pertains to property in the person. In much the same way that Early Modern persons debated the limitations and moral implications of private property, we today struggle to understand the limitations and moral implications of property in our bodies. Although these issues have universal importance, they are particularly relevant to women because women, from the early days of the sixteenth century through our contemporary period, have been and continue to be denied rights to property in one way or another.
This dissertation explores the drama through the lenses of Early Modern English law, contemporary Western law, feminist philosophy, and literary analysis, and an examination of the plays reveals that women have a property interest in reproductive labor such as gestation, child labor, and child birth. These property interests are relevant to contracts regarding reproductive technologies, paternity law, and doctrines of informed consent, and they also provide a more robust set of rights that protect women from over-reaching state action.10000-01-01
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Oluwasuji, Olutoba Gboyega. "Re-imagining Ogun in selected Nigerian plays: a decolonial reading." Thesis, 2018. http://hdl.handle.net/10500/25490.
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Text in EnglishThrough an in-depth analysis of selected texts, this study engages with the ways in which Ogun is reimagined by recent selected Nigerian playwrights. Early writers from this country, influenced by their modernist education, misrepresented Ogun by presenting only his so-called negative attributes. Contemporary writers are reconceptualising him; it is the task of this thesis to demonstrate how they are doing so from a decolonial perspective. These alleged attributes represent Ogun as a wicked, bloodthirsty, arrogant and hot tempered god who only kills and makes no positive contribution to the Yoruba community. The thesis argues that the notion of an African god should be viewed from an Afrocentric perspective, not a Eurocentric one, which might lead to violence or misrepresentation of him. The dialogue in the plays conveys how the playwrights have constructed their main characters as Ogun representatives in their society. For example, Mojagbe and Morontonu present Balogun, the chief warlord of their different community; both characters exhibit Ogun features of defending their community. The chosen plays for this study are selected based on different notions of Ogun, the Yoruba god of iron and war, presented by the playwrights. A closer look at the primary materials this thesis explores suggests Ogun’s strong connection with rituals and cultural festivals. These plays exemplify African ritual theatre. Being a member of the Yoruba ethnic group, I have considerable knowledge of how festivals are performed. The Ogun festival is an annual celebration among the Yoruba, where African idioms of puppetry, masquerading, music, dance, mime, invocation, evocation and several elements of drama are incorporated into the performances. The selected plays critiqued in this thesis are Mojagbe (Ahmed Yerima, 2008), Battles of Pleasure (Peter Omoko, 2009), Hard Choice (Sunnie Ododo, 2011), and Morontonu (Alex Roy-Omoni, 2012). No in-depth exploration has previously been undertaken into the kinds of textual and ideological identities that Ogun adopts, especially in the selected plays. Therefore, using a decolonial epistemic perspective, this study offers a critical examination of how the selected Nigerian playwrights between the years 2008 and 2012 have constructed Ogun, the Yoruba god of iron. Such a perspective assists in delinking interpretations from the modernised notions mentioned above, in which Ogun is sometimes a paradoxical god. Coloniality is responsible for such misinterpretation; the employed theoretical framework is used to interrogate these notions. The research project begins with a general introduction locating Ogun in Yoruba mythology, which forms the background to how the god is being constructed in Yorubaland. Also included iii in this first chapter is a discussion on a decolonial perspective, the principles of coloniality, the aims and objective of the study, and the relevant literature review. Thereafter, chapter two focuses on Battles of Pleasure and argues that the play re-imagines Ogun as a god of peace and harvest as opposed to a god of war and destruction. Chapter three discusses how Ododo’s Hard Choice reconceptualises Ogun as a god of justice, in contrast to him being interpreted as a god who engages in reckless devastation of life. Chapter four explores Ogun’s representation in Yerima’s Mojagbe as a reformer who gives human beings ample time to change from their wayward course to a course that he approves. In chapter five, Ogun’s reconception as a remover of obstacles in Roy-Omoni’s Morontonu is examined. The study concludes with a discussion on how Africans should delink themselves from a modernist Eurocentric perspective and think from an Afrocentric locus of enunciation.
English Studies
D. Litt. et Phil.(English)
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Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.
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This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that
Soyinka, far from being an irrelevant artist as some of his fiercest critics have
alleged, is a deeply committed writer whose works are characterised by a strong
sense of concern with basic human values of right and wrong, good and evil.
Furthermore, the dissertation shows that although Soyinka is not an admirer of
Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either,
I
because he is fully aware of the utilitarian value of literature. Soyinka's works are
much influenced by his social and historical background, and the dissertation shows
that Soyinka's socio-political awareness pervades all these works, although it will
be seen that in the later plays there is a sharpened political awareness. Although
largely concerned with his own country's issues, Soyinka also emerges as a keen
observer of humanity universallyEnglish Studies
M.A. (English)
Books on the topic "Legal drama, Nigerian (English)"
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Bello-Fadile, R. S. B. An officer and a gentleman: A play on military court-martial. Zaria: Tamaza Pub. Co., 1992.
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Adeoti, Gbemisola. Aesthetics of adaptation in contemporary Nigerian drama. Mushin, Lagos, Nigeria: Published for Centre for Black and African Arts and Civilization (CBAAC) by Concept Publications Limited, 2010.
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Yerimah, Amed P. Attahiru: Drama. Ibadan, Oyo State, Nigeria: Kraft Books Limited, 1999.
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Chukwuma, Anyanwu, ed. The battle, and other plays. [Ibadan, Nigeria]: Soul & Beam Publications, 2007.
Find full textBook chapters on the topic "Legal drama, Nigerian (English)"
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Wiącek, Tomasz. "Legal and Social Discourse of Matrimony in Selected N-Town Cycle Plays." In Studies in English Drama and Poetry vol. 3. Reading subversion and transgression, 31–44. Wydawnictwo Uniwersytetu Łódzkiego, 2013. http://dx.doi.org/10.18778/7525-994-0.03.
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Bromley, James M. "Epilogue." In Clothing and Queer Style in Early Modern English Drama, 186–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867821.003.0006.
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This Epilogue addresses the historicist criticism that theoretical and presentist approaches to literature are narcissistic. It responds to these critiques by showing that defenses of historicism engage in the obscurations and suppressions of difference that presentist approaches are accused of. It draws on the work of Michael Warner to identify a queer idealism within Freudian narcissism, and this idealism can motivate literary criticism’s engagement with the literature of the past. The Epilogue also reflects on why a queer rethinking of sexuality remains necessary in light of recent legal victories for the LGBTQ population in some countries and what role the sartorial plays in our thinking about toleration for nonnormative sexuality.
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Cressy, David. "English Islands in the Norman Sea." In England's Islands in a Sea of Troubles, 37–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856603.003.0004.
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This chapter examines the legal and constitutional idiosyncrasies of the Channel Islands. As remnants of the Duchy of Normandy, Jersey, Guernsey, and their dependencies were outside of English law, and lay beyond the reach of courts and parliaments at Westminster. Yet they were subject to crown-appointed military governors and could be answerable to the monarch’s Great Seal. Royal and papal charters assured their neutrality in times of war. This chapter explores the drama of London’s attempt to impose its will on the islands, and the islanders’ insistence on their customs, privileges, rights, and immunities. It shows how governors and captains of varying competence and rectitude sparred with bailiffs and jurats over authority, appointments, resources, and jurisdiction.
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Landauer, Carl. "Taslim Olawale Elias." In The Battle for International Law, 318–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849636.003.0015.
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In 1962, eminent Nigerian lawyer Taslim Olawale Elias published British Colonial Law, which provided an ambitious comparative study of British dependencies—oddly coming out nearly two years after his country’s independence and even referring to India in terms of British colonial law. Continuing his early support of local customary law, his 1962 book backed the twinned English–customary law heritage of his state. His model of law was founded on the close working of law and society, using sociology, anthropology, and case reports of customary courts. This chapter discusses Elias’s view of international law. Deeply involved in setting up numerous international institutions, Elias was the insider’s insider, aware of the North-South split and championing new international law emerging from the ILC and the UN General Assembly. This chapter analyses Elias’s sense of law—a sociology of law—that provided the foundation for his international legal writing.
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Lamberti, Edward. "The Ethical and the Juridical in Reversal of Fortune and Terror’s Advocate." In Performing Ethics Through Film Style, 105–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0008.
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Chapter 5 considers Barbet Schroeder’s English-language American true-life drama Reversal of Fortune (1990) and his French-language political documentary Terror’s Advocate (2007), two films about lawyers and legal systems. Desmond Manderson refers in his collection Essays on Levinas and Law: A Mosaic (2009) to the ‘mosaic’ of a Levinasian approach to the law, as, sceptical of legal systems but devoted to justice, Emmanuel Levinas posits an ethics that refuses to crystallise into a prescriptive view of how the law should work in respect of the Other. I argue that these two Schroeder films, with their multi-faceted, ‘mosaic-like’ styles and structures, perform this fractured Levinasian refusal to settle on a fixed, simplistic definition of the law’s purpose. I analyse Reversal of Fortune for its multiple story strands and the different visual styles Schroeder deploys to delineate them, along with elements of performance – especially from Jeremy Irons as Claus von Bülow – that complicate questions of otherness. In discussing the documentary Terror’s Advocate, I draw on Stella Bruzzi’s work on performative documentary (2006) to explore how Schroeder uses film style to perform both the bravado of the film’s protagonist, the real-life criminal lawyer Jacques Vergès, and the Levinasian ‘mosaic’ of the legal situations he surveys.
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Schramm, Jan-Melissa. "Ecce Homo, ‘Real Presence’, and the Word Made Flesh." In Censorship and the Representation of the Sacred in Nineteenth-Century England, 123–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0004.
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Whilst censorship kept sacred drama off the English stage, other genres were not subject to the same legal regulation. Fiction, poetry, and visual art all meditated on the meaning of the sacred body and the ways in which its ongoing spiritual or metaphorical presence might be conjured from its material absence by members of a community of believers. The ways in which scriptural narrative and the liturgy sought to conjure up the dead, to resurrect the martyr, to reanimate the past, were urgent questions; for mid-Victorian writers, these same issues—which foregrounded the capacity of linguistic incantation to effect transformative change—were central not only to the inherited national faith that was under such pressure from nascent scientific methodologies and biblical criticism but also to the types of assent offered by the reader or spectator to the work of art.