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1
Fidelis, A. Nwokwu, O. Bob Prisca, and U. Kwekowe Priscilla. "A reflection on social injustice in victor Igiri's One Nigeria and Ikenna Omeje’s the Shadows of Ethnicism and Tribalism." i-manager’s Journal on English Language Teaching 13, no. 3 (2023): 1. http://dx.doi.org/10.26634/jelt.13.3.19798.
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Social injustice has become one of the social vices that bedevil Nigerian society. The level of social injustice currently prevailing in Nigeria is alarming, and the poor citizens are beginning to feel the impact in the level of discontent among the citizenry, as demonstrated by various uprisings against the state. The poems of Victor Ngiri's “One Nigeria” and Ikenna Omeje's “The Shadows of Ethnicism and Tribalism” are aimed at capturing these scenarios. A thematic analysis technique is employed to explore the central idea of the poems, while a Marxist theoretical framework is employed in the analysis of data. The findings drawn from the study show that modern poets have been able to use the tool of poetry to satirize the evils of social injustice prevalent in Nigerian society. Furthermore, the poets identify ethnicism and tribalism as one of the major causes of social injustice in Nigeria. Consequently, the poets advocate that for African society to be better than what it is, people should emulate the past African heroes, preach the gospel of altruism, and lend peace a voice.
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Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (December 30, 2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.
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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how satire, humour and parody are deployed in selected Nigerian women’s poetry to reproach and etch the collective ethos of women’s experience in contemporary Nigerian society. The study utilises qualitative analytical approach in the close reading and textual analysis of the selected texts focusing mainly on the aesthetics of humour, satire and parody in challenging male chauvinism in contemporary Nigerian women’s poetry. Three long poems: “Nuptial Counsel”, “Sadiku’s Song” and “The Sweet, Sweet Mistress’ Tale” by Mabel Evweirhoma and Maria Ajima respectively were purposively selected. The choice of the selected poems hinges on the artistic vigour, especially the evoking of laughter, mockery and condemnation of hegemonic strictures through the use of satire, humour and parody. The paper employs Molara Ogundipe’s Stiwanism, an aspect of Feminist theory in the analysis of the selected poems. The poets have shown the interventions of humour, satire and parody as linguistic devices in condemning and highlighting peculiarities of women peonage in Nigeria.
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Abechi, Agada, Adah, and Ugochukwu Ogechi Iwuji. "The Futility of Waiting: A Receptionist Study of Tanure Ojaide’s “Waiting” and Isidore Diala’s “Waiting”." Tasambo Journal of Language, Literature, and Culture 3, no. 01 (February 15, 2024): 404–10. http://dx.doi.org/10.36349/tjllc.2024.v03i01.047.
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This paper uses the Reader-response theory to investigate the futility of waiting as explored in “Waiting” by the two poets in their The Lure of Ash and The Beauty I Have Seen, respectively. It is a coincidence for two poets to pointedly dwell on the same title and subject matter. Isidore Diala and Tanure Ojaide are both second-generation Nigerian poets who witnessed the beginning of the fall of the Nigerian dream. The methodology used is qualitative as excerpts of the key poems and relevant works are cited and analyzed. The work is essentially literary as relevant aspects of literary criticism are deployed to buttress aspects of the paper. The findings of the study are hinged on the fact that the two poets of Ojaide and Diala coincidentally explore the metaphor of “waiting” in their poems of the same title to denounce the political inequalities in their country. The political class is presented as a set of hegemonists who exploit and subjugate the people. The two poems are revolutionary because of the revelation that waiting is futile, and is of the colour of ash. Indeed, waiting is ash, and ash is waiting, a pun stylistically deployed by Diala in his “Waiting.”
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Anuonye, Chibueze Darlington. "Facebook Writers: The Emergence of a New Generation of Nigerian Poets." Research in African Literatures 54, no. 3 (September 2024): 131–46. http://dx.doi.org/10.2979/ral.00020.
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ABSTRACT: In his 2005 article "The Lightness of Being: Re-figuring Trends in Recent Nigerian Poetry," the literary critic Harry Garuba accounted for the emergence of the first, second, and third generations of Nigerian poets. But recently, there has been an outburst of new Nigerian poets under the age of forty, who are yet to be properly categorized. This article adopts Garuba's "strategic intervention" as a theoretical framework for the classification of these new poets. In presenting its views that these poets have made strategic interventions in Nigerian poetry by establishing social media literature with Facebook as their foremost publishing platform; mainstreaming digital publishing; influencing a new tradition of queer, self-conscious, and subversive poetry; and earning significant literary prizes, this article revises Garuba's classification and expands the canon of Nigerian poetry to inaugurate these Facebook writers and their contemporaries as the fourth generation of Nigerian poets.
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S., Alhassan, A., and Hadiya, A. .U. "Form And Content Of Poetry Of Restive Regions: A Critique Of Select Collection Of Poems From The Boko Haram And Bandits’ Occupied Northern States." Tasambo Journal of Language, Literature, and Culture 3, no. 02 (February 15, 2024): 95–104. http://dx.doi.org/10.36349/tjllc.2024.v03i01.011.
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Modern African poetry is characterized by shifts in both its form and preoccupation. It began with a call for self-governance in an amateurish language. Then came the Soyinkas (the disillusioned poets), whose poems are crafted in a rather difficult style that suggests colonial hang-ups. A major turnaround came in the 1980s when the Osundares’, criticizing the Soyinkas for their untold difficulty, provided a staple, known as the Alter-Native tradition. It seeks to address African conditions using African allusions. They, unlike the largely Greco-Roman, Euro-centric and Biblical form of the Soyinkas, provide an enative alternative. Both Othman and Okpanachi, (then lecturers in the far North-Eastern Nigerian University of Maiduguri) belong to the latter and they write amid the terrific Boko Haram insurgency that threatened to extinct the region. This paper seeks to uncover their style in exposing some of the most horrific acts of both the Boko haram and the herdsmen’s unleashed terror on innocent souls. The paper, harping on the postcolonial discourses of the Palestinian Said, Caribbean Fanon, Indian Bhabha, and Nigerian Chinweizu, looks at the factors and motives behind the assailants’ missions as presented in the collections. It shows how they reveal the misgivings of the current African democracy as embedded in evil acts. These Poets seem to unravel the brazen incompetency of the modern African democratic governments, citing Nigeria as an example. The paper also offers a critique of some other collections of poems from northern Nigerian authors. From 1999 to the mid-2000, the region was ravaged by Boko Haram mayhem. And by 2015 to date, it has been faced with a series of terror activities that range from banditry, and cattle rustling to kidnapping. The region is absolved in fear of terror everywhere. Thus the paper also attempts to critique some of the accounts contained in the poems.
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Abubakar Adamu Masama, Abdulwahid Sabi'u Auwal, Abubakar Adamu Masama, Abdulwahid Sabi'u Auwal. "Samples of the phenomenon of innovation in Nigerian Arabic political poetry: صور من ظواهر التجديد في معاني الشعر السياسي العربي في نيجيريا." مجلة العلوم الإنسانية و الإجتماعية 5, no. 15 (December 27, 2021): 103–90. http://dx.doi.org/10.26389/ajsrp.b150721.
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Nigerian political poetry is currently witnessing a remarkable renewal. Indeed, The political situation in Nigeria has produced brilliant poets who have taken political poetry as one of their most important weapons for them to defend their political and tribal views, this type of poetry has acquired different innovation, this research represents a study of the phenomenon of renewal in Nigerian Arabic poetry, this research comes from the point of view of the researchers' observation that this innovative phenomenon of Nigerian political poetry still lacks what it deserves to be studied. The most important findings of this research are: the current political conditions in Nigeria have imposed a significant renewal in Nigerian political poetry, hence the need for further research in the field.
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Diala, Isidore. "Bayonets and the carnage of tongues: The contemporary Nigerian poet speaking truth to power." Journal of Commonwealth Literature 52, no. 1 (July 26, 2016): 116–38. http://dx.doi.org/10.1177/0021989415575800.
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The paradigmatic antagonistic relationship between the Nigerian poet and the despot in his guise as a military ruler has often been examined in terms of a hegemonic contestation of power between unequal rivals. The military state’s typical response to the poet’s “truth” with the display of excessive might, often involving the emblematic battering of the poet’s tongue by the imposition of silence even in its eternal form of death, entrenches the notion of a powerful antagonist pitted against a weak opponent who nonetheless incarnates the spirit of the masses. A close reading of anti-military Nigerian poetry, however, underscores that the situation was replete with paradoxes: the inability of power to ignore apparent powerlessness; the ultimate triumph of powerlessness over power; and the fascinating replication in the counter-discourse of the (discursive) strategies of the dominant hegemony it battles against. This study highlights these trends in contemporary Nigerian poetry inspired by military despotism by paying particular attention to the work of the “third generation” of Nigerian poets.
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Ojarikre, Anthony. "A Systemic Functional Analysis of the Nominal Group in Selected Eco-Critical Poems of Ebi Yeibo and G’ebinyo Ogbowei." NIU Journal of Humanities 8, no. 3 (September 30, 2023): 69–76. http://dx.doi.org/10.58709/niujhu.v8i3.1695.
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This paper examines the Nominal Group in the ecopoetry of Ebi Yeibo and G’ebinyo Ogbowei. Both poets are of the Niger Delta literary tradition of protest literature. This literature is a reaction to the brazen exploitation of petroleum resources in the Niger Delta without compensation and environmental impact assessment by the Nigerian government and the international oil companies. Three representative poems are selected from different collections of the two poets. They are analysed using Systemic Functional Grammar as theoretical framework. The systemic functional analysis of the Nominal Group brings out the eco-critical features of the poems. An analysis of the MHQ structures throws up the vexed issue of environmental injustice and brings to the fore the struggle of the Niger Delta people for resource control. Keywords: Niger Delta, Hydrocarbon, Environmental Injustice, Resource Control, Ecocriticism
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HUSSAINI ADDAU MAGAJI and NAFIUABDULLAHI. "SATIRE IN THE POETRY OF MUSA I. OKPANACHI AND JOSEPH CHRISTOPHER." Ahyu: A Journal of Language and Literature 1, no. 3 (May 2, 2020): 119–26. http://dx.doi.org/10.56666/ahyu.v1i3.13.
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This paper addresses the use of satire as a tool in contemporary Nigerian Poetry as depicted in some selected poems of Musa I. Okpanachi and Joseph C.P Christopher. Poets adopt the use of satire as their style to improve the society by criticizing and ridiculing anyone engaged in vices which are often detrimental to a majority of the less privileged. Poets depict the vices in their societies in a satiric style that scorn and cast aspersion on the follies of their leaders, the people and the societal structure as a whole. They also address the imbalance in the society and the adverse effects of such on the Nigerian society. Moreover, the study focuses on how satire as atool for reparation can serveas a basis or an attempt for civil change. The research brings out the significant achievement of the two poets in using satire. Okpanachi uses juvenilia satire which is said to be more confrontational in his poetry in an attempt to expose the evil happening in the society to his readers. Christopher on the other hand is less confrontational. He uses menippean satire which creates awareness to his readers. The sociological approach has been adopted for the purpose of this research.
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Abdullahi, Sani Abubakar, and Hamza Umar. "الأسلوب في ديوان "ثمرات الحب في مدح نجل القطب" لبشير بِيْرَيْ: دراسة تحليلية." Yandoto Academic Journal of Arabic Language and Literature 6, no. 01 (December 30, 2022): 90–106. http://dx.doi.org/10.36349/yajoall.2022.v06i01.007.
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Eulogy is one of the most important poetic purposes dealt with by Arab poets in their poems, because it is concerned with explaining the moral and ethical aspects of the addressee, as Eulogy inspires in people the spirit of love tolerance and humility among themselves, and these attributes called the attention of the Sheikhs of the Sufi orders, as they showed the morals of the Prophet Muhammad (may Allah bless him and grand him peace) they also showed the compliance of his Companions and the entire Muslim Ummah to it. That is why Nigerian poets have a great role in emulating this art in their poems, they also have a role in the Eulogy of their Sheikhs in the Sufi orders, which includes the collection of "ThamaratulHubbi fi Madh NajlilQutb" by Bashir Birai, in which the articled aims to analyze the characteristics of the vocabulary and structures used in it.
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ETIOWO, JOY M., and A. A. AGANTIEM. "THE UNSUNG SINGERS: OTHER 'NEW' NIGERIAN POETS." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 190–98. http://dx.doi.org/10.56666/ahyu.v2i.93.
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The many attempts by literary critics to bring “writers from the fringe” to the fore of critical attention have been invaluable in promoting literary scholarship in Nigeria. However, because the Nigeria literary landscape is fertile, there are “omissions” of “new” writers whenever there is a new anthology. This paper is another attempt to bring to critical discourse the poetry of some “new” writers including Anthony Ada, Moses Effiong, Onyekachi Onuoha, Mercy Envorh, among others. The newness of these poets lies not only in their entry into the craft but also in the focus on their craft for critical acknowledgement and judgement by those who should do so. The paper is concerned with their handling of themes and their deployment of linguistic resources for achieving this.
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Olujinmi, Bunmi. "The Yorùbá Poets and the Nigerian Economy." Journal of Social Sciences 15, no. 3 (November 2007): 263–69. http://dx.doi.org/10.1080/09718923.2007.11892591.
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Aliyu, Saeedat Bolajoko. "Ken Saro-Wiwa as Symbol of Environmental Activism in Niger Delta Poetry." International Journal of Literature, Language and Linguistics 5, no. 2 (July 9, 2022): 35–42. http://dx.doi.org/10.52589/ijlll-ita843z4.
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Since the martyrdom of prominent Nigerian writer and environmental activist, Ken Saro-Wiwa by the then military government of Nigeria, the slain activist has attained the status of a symbol of activism in literary works. This paper seeks to explore how selected Nigerian poets engage the name and actions of Ken Saro-Wiwa in representing resistance and in sensitising and rallying the people to demand their rights to basic amenities and safer environments to live in. This is the cause for which Saro-Wiwa lost his life. Three collections of poems have been purposively selected for a qualitative and sociological investigation of the deployment of Ken Saro-Wiwa as a symbol of environmental struggle and of selflessness for the advancement of the common good. The collections are Ojaide’s Delta Blues and Homesongs, Ibiwari Ikiriko’s Oily Tears of the Delta, and Ogaga Ifowodo’s The Oil Lamp. This study finds that while Ken Saro-Wiwa is deployed as a symbol of environmental activism, poets extend what his life and name represent to advance the agitation against the mismanagement of the environment and people of the Niger-Delta region. The study also reveals that Saro-Wiwa is an inspiration for writers to critically commit to advocacy that advances not just the good of society, but their art. This paper concludes that Ken Saro-Wiwa has become a source of inspiration for writers’ commitment to the Niger-Delta environment and a symbol to encourage activism against the continued despoliation of the region.
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Simanjuntak, Rutmintauli, Purnama Rika Perdana, and Muhammad Ilham Ali. "Poetry Analysis of Osundare’s Random Blues: Using Speech Act Theory." Journal of English Language Teaching, Literature and Culture 2, no. 2 (July 18, 2023): 96–110. http://dx.doi.org/10.53682/jeltec.v2i2.6960.
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Osundare's involvement in performative poetry is an attempt to fulfill her social responsibilities and connect with her community as her collective poetry is expressed through performance. The rhetoric of his poems and the structure of their presentation explains why he uses the techniques and resources of the African oral tradition in many of his poems. The purpose of this study is to explore the intertextual relationship between the second generation of Nigerian artists and the new Nigerian artists in terms of colonial influences and relationships. This study shows that poet Niyi Osundare is a second generation iconoclast through which he influenced the poetic landscape of contemporary Nigeria. This study shows that contemporary poets are not significant and methodologically influential to other secular poetic texts, so the aesthetic principle of poetry is emphasized when the dialogue between texts is seen in the form of Osundare poetry. Osundare tells about the paradigm shift of intertextual relations from a vertical point of view, and the artistic practices preserved from the colonial period are the vertical practices of the postcolonial space. The research is qualitative in nature and primarily analyzed primary and secondary data from the literature, original research and literature review. This study also uses poststructuralist intertextuality as a theoretical framework to explore the extent of intertextual relationships. This study suggests that in order to understand recent Nigerian poetry in English, there is an urgent need to explore the history of their intertextuality. Beyond the intertextual dimension, this study demonstrates that the symbiotic relationship between power and traditional formation provides an ontological framework for examining the aesthetic experience of recent English poetry in Nigeria.
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Diala, Isidore. "Nigeria and the Poetry of Travails: The Niger Delta in the Poetry of Uche Umez." Matatu 33, no. 1 (June 1, 2006): 317–25. http://dx.doi.org/10.1163/18757421-033001036.
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Especially since the execution of the writer and Ogoni activist, Ken Saro–Wiwa, international attention has been drawn to the plight of the Niger Delta. Oil-rich but cynically plundered and exploited, the Niger Delta has become symbolic of the Nigerian nation itself, fabulously endowed yet, paradoxically, virtually a beggar nation. This accounts in part for the increasing fascination of a growing number of Nigerian poets, Deltans and non-Deltans alike, with the representative plight of the Niger Delta. In , the first published volume of the emergent Nigerian writer Uche Peter Umez, Nigeria's characteristic social ills are etched in memorable lines. But Umez's special focus is on the Niger Delta. Given his own position as a non-Deltan from a part of Igboland that has been the target of punitive cartography, this concern foregrounds the varied dimensions of Nigeria's oil politics.
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Mohammad, Ghada A., and Wafaa A. Abdulaali. "Mahmoud Darwish and Tanure Ojaide." Ars & Humanitas 14, no. 1 (June 23, 2020): 41–53. http://dx.doi.org/10.4312/ars.14.1.41-53.
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Darwish, the spokesman of Palestine, and Ojaide, the voice of Nigeria, are endowed with a faculty for articulating a message, a vision or an opinion for their nations. They are intellectuals essentially tied to the needs of their communities. Both poets belong to countries that witnessed different types of political, economic, and social turmoil. They inspire the oppressed nations to persist in their struggles against the regimes which deprive them of their right to live happily and peacefully. Darwish experienced many displacements that turned him into an embodiment of exile, in both existential and metaphysical terms, beyond the external, and the metaphorical, in his interior relations with self and poetry. His poetry of exile mirrors the socio-political atmosphere under the Israeli occupation. He utilizes poetry as a weapon in his fight to achieve freedom and independence. Similarly, Ojaide’s poetry is engaged with the crises of his homeland, the Niger Delta. He belongs to the generation of Nigerian writers who used their literary productions as a weapon against social injustice and an instrument in resisting imperialism. To him, there is a direct relationship between literature and social institutions. The principal function of literature is to criticize these institutions and eventually bring about desirable changes in society. This study aims at examining Darwish and Ojaide as poets of exile by observing their exilic experiences and investigating certain poems that typically help dive into their external and internal sense of displacement. The study also highlights the concepts of home and homelessness. It brings to light the poets’ deep yearning for a sense of belonging and their insistence on regaining the motherland toward which they show a profound attachment and permanent commitment. They use words as a therapeutic means to compensate for the lack of a physical homeland. A comparison between the two poets is also provided.
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Asigbo, Alex Chinwuba, and Lotachukwu Loveth Amalukwue. "The Wandering Minstrel in Contemporary Nigerian Literature: A Study of Akachi Adimora-Ezeigbo and Ezenwa-Ohaeto’s Poetry." June-July 2023, no. 34 (June 13, 2023): 1–8. http://dx.doi.org/10.55529/jmcc.34.1.8.
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The art of minstrelsy is very prevalent in traditional African society. Minstrels abound in these societies and they are mostly regarded as singers, musicians or reciters of poems. They are notable for their itinerant nature which makes them familiar with the goings on in their immediate societies. Even with the transition of most African societies from oral to written culture as a result of colonialism which introduced the Western system of education in Africa, the activities of these minstrels have not ebbed. Instead, it has found renewed expression on the pages of the collection(s) of poetry of contemporary Nigerian and by extension, African poets. This paper studied two collections of poetry of the poets under study; Akachi-Adimora-Ezeigbo’s Heart Songs and Waiting for Dawn and Ezenwa- Ohaeto’s The Voice of the Night Masquerade and The Chants of a Minstrel. It employed Formalism (New Criticism) theory in the analysis of these works. This paper showed that Akachi Adimora-Ezeigbo writes from the angle of a wandering minstrel which affords her the opportunity to permeate different segments of her society. Ezenwa-Ohaeto on the other hand employed, not only the masquerade minstrel personae in his collection of poetry, The Voice of the Night Masquerade but equally structured the work on the circular movement associated with the entrance and exit of the Night masquerade. Also, he equally writes The Chants of a Minstrel from the angle of the mad man and itinerant minstrel persona. The research concludes on the note that these contemporary Nigerian poets studied have succeeded in continuing the art of minstrelsy prevalent in their cultural milieu even as they incorporate their wandering/itinerant nature in their works.
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Okuyade, Ogaga. "Precarious Geography: Landscape, Memory, Identity and Ethno-regional Nationalism in Niger Delta Poetry." East-West Cultural Passage 21, no. 2 (December 1, 2021): 133–66. http://dx.doi.org/10.2478/ewcp-2021-0017.
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Abstract Like most conflicts across the world, the Niger Delta crisis has generated a body of works now labelled Niger Delta literature. These cultural art forms, which are not only programmatic in thrust but also carry a dissenting temper that is laden with counter hegemonic rhetoric, are primarily geared towards underpinning a brutish kind of colonization and corporate greed which has become the stamp of toxic dreaming and dubious progress in Nigeria. This literature draws attention to the debility of the Niger Delta people and to the fact that they are trapped under double hegemons – the Nigerian government and transnational oil firms – that have strategically transformed or reduced this precarious geography and its inhabitants to mere commodities. A close reading of texts on the Niger Delta makes one aware of the politics and structure of the Nigerian economy and the corporate cost of petroculture; moreover, issues of ethno-regional identity, the inequity in the distribution of resources, the near absence of government presence in the Niger Delta and the continuous decay of state infrastructures provide a fertile ground for explaining the resentment expressed by these heavily marginalized people. By protesting their marginality, these poets frame a kind of identity that “others” the Niger Delta people, thereby holding the state accountable for its deplorable conditions and the abysmal underdevelopment of the region considering the quantity of wealth it generates for the Nigerian federation. Paying significant attention to the relationship between the representations of landscape and processes of political and economic transformation and how the landscape becomes the defining index for identity formation in the poetry of Tanure Ojaide and Ibiware Ikiriko, I argue that these poets point to the way in which colonialism and environmental devastation are interlocking systems of domination within the Nigerian nation.
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Olusunle, Tunde. "The Print Media and the Evolution of Third-Generation Nigerian Poetry." International Journal of Current Research in the Humanities 26, no. 1 (February 25, 2023): 401–17. http://dx.doi.org/10.4314/ijcrh.v26i1.24.
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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.
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Egya, Sule Emmanuel. "Contemporary Nigerian Female Poets: Toyin Adewale and Unoma Azuah." Commonwealth Essays and Studies 34, no. 2 (April 1, 2012): 7–17. http://dx.doi.org/10.4000/ces.5458.
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Egya, Sule E. "The Minstrel as Social Critic: A Reading of Ezenwa–Ohaeto's." Matatu 33, no. 1 (June 1, 2006): 179–92. http://dx.doi.org/10.1163/18757421-033001028.
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Ezenwa–Ohaeto is one of the modern Nigerian poets who, in their creative endeavours, have continued to tap the rich sources of orature in their culture, in what is now known as 'the minstrelsy tradition'. The maturity of his explorations of the minstrelsy tradition comes through in the last volume of poetry he published before his death, (2003). In a close reading of some selected poems from this volume, this contribution not only looks at the minstrelsy tradition so central to Ezenwa–Ohaeto's poetry, but, more broadly, explores the social vision of Ezenwa–Ohaeto as an African poet. Unlike his earlier volumes of poetry, takes a critical swipe at the inadequacies of advanced countries in Europe and America in what we may call the poet's transnational imagination. In his chants across the world (the volume is an outcome of his many travels), Ezenwa–Ohaeto examines the issues of racism, equity in international relationships and, as is characteristic of his oeuvre, the moral and ethical failures of leaders in Africa.
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Nwagbara, Uzoechi. "Earth in the Balance The Commodification of the Environment in and." Matatu 40, no. 1 (December 1, 2012): 61–79. http://dx.doi.org/10.1163/18757421-040001005.
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Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is “man meaning to man.” For Ojaide, a creative writer is not “an airplant” that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection (1986) and Tanure Ojaide's (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls “semantics of terrestiality”: i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: and interrogate the despicable state of Nigeria's environment as a consequence of global capitalism.
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Aliyu, Dr Saeedat Bolajoko. "Nigerian Popular Music: Social Mediation Amid Musicality." International Journal of Research and Innovation in Social Science 06, no. 06 (2022): 578–81. http://dx.doi.org/10.47772/ijriss.2022.6614.
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Music is a fundamental feature of the African society. One of its indispensable values is its entertainment function. Music has also been used overtime to engender positive social changes in the society. Using this popular medium, traditional African musicians and poets have used their composing ingenuity not only to please their audience but also to lampoon, satirize, moralize, preach and call for individual and collective changes or conformity to established social, religious, or cultural norms, as the circumstances dictate. In Nigeria’s recent past, the late Fela Anikulapo- Kuti, Sunny Okosun, Ebenezer Obey, and Osita Osadebe are examples of musicians who used their music to comment on the challenges of life in Nigeria and elsewhere. They also gained popularity from the entertainment value of their various kinds of music. However, commercialisation brought about by the realities of the socio-political and economic conditions of life seems to have made the music of emerging Nigerian musicians lose social relevance. This article studies via document analysis the thematic trends in some of the songs of Asa, a popular Nigerian musician who has received wide acclaim across the world. This paper concludes that social relevance and commercial success are two states which can be achieved simultaneously by emerging Nigerian musicians without apprehension, especially in a world which rates commercial success as a parameter for popularity.
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Bassey, Bassey U., and Steve U. Omagu. "ENVIRONMENTAL COMMITMENT AND SOCIAL CHANGE IN THE POETRY OF JOE USHIE." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 138–50. http://dx.doi.org/10.56666/ahyu.v2i.88.
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There is a continuous growing suspicion of the relevance and the survival of literature; but seemingly, ecocriticism aptly justifies the impetus and functionality of literature as a discipline. Ecocriticism is an earth-centered literary theory that tries to analyze and evaluate how literary texts contribute to the change and improvement of our environment. Although, it is incontestable that the 21st Nigerian poetry has been stifled by other sister genres especially the Nigerian novel; the paucity in the corpus has not in any way daunted or muted the muse of the Nigerian poets. This paper attempts to explore Ushie's eco-critical concerns and how this new direction has informed on man's relationship with the environment. Ecocriticism confront the despoliation of the environment and strives towards making the society a better place. Besides expounding the ideals of ecocriticism, the paper mirrors and confronts Nigeria's current societal realities like: violence and bloodletting; uneven distribution of power and wealth; corruption, injustice, fear and anxiety. Finally, the paper is hinged on the assumption that one cannot attest to loving nature without loving humans as well, hence, the paper melds and negotiates Ushie's treatment of the environment and human activities in a view to achieving attitudinal change
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Ogene, Mbanefo S. "Transition and the Problems of Modern Nigerian Poetry: An Overview of Selected Nigerian Northern and Southern Poets." UJAH: Unizik Journal of Arts and Humanities 17, no. 3 (September 29, 2017): 66. http://dx.doi.org/10.4314/ujah.v17i3.4.
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Kajeej, Omar Abdullah. "غَ رَ بَ طَ نَ ظَ و هَو زا رَ يَا نَاقدٌ نَقده لَقصيدة "َبحق رَب اَلورىَ" لَلشعر اَلحاج عَمر اَ لَ كَ بَ وَي أَنموذجا." Yandoto Academic Journal of Arabic Language and Literature 6, no. 01 (December 30, 2022): 27–41. http://dx.doi.org/10.36349/yajoall.2022.v06i01.003.
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This research in title “Garba Dantsoho Zaria, is Critic his scrutinising the poetry of Alh. Umar Al-Kabawai named "for the sake of mankind’s creator" as model ". The paper intended to highlight the contributions of Garba Dantsoho Zaria, toward the development of Arabic literature and criticism in Nigerian Arabic Literature. The research contained the biography of the author (Critic) Garba Dantsoho Zaria, his struggle for seeking the Arabic language and Islamic studies, his compositions toward the development of Arabic language literature and criticism in the fill of Nigerian Arabic Education, at the end the paper explains the preferment and structure of his book, called the presentation, analysis, and the criticism of the Alh. Umar Al-kabawai poets, finally the conclusion, summary, and recommendations were been given.
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OGUNDOKUN, Sikiru Adeyemi. "Étude critique de quelques poèmes nigérians." Langues & Cultures 4, no. 02 (December 31, 2023): 117–31. http://dx.doi.org/10.62339/jlc.v4i02.201.
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La passion pour la poésie comme l'un des trois genres majeurs de la littérature semble peu passionnante pour beaucoup de gens. La majorité des jeunes érudits et parfois des plus âgés prennent l’étude de poésie comme une noix dure ; difficile à casser en raison de son utilisation d'un langage condensé. Cette étude s’intéresse donc des réflexions sociales sur des poèmes nigérians sélectionnés. Le but de cette étude est d'abord de raviver et de rétablir l'intérêt des gens, en particulier de la jeune génération, pour la poésie. Avec l'application de l'analyse textuelle comme méthodologie et de la perspective sociologique à la littérature comme cadre théorique, des réflexions sont faites sur les situations nigériennes pendant la période post-indépendante. Des poèmes de John Pepper Clark, Tanure Ojaide, Gbemisola Adeoti, Rotimi Johnson et Olu Obafemi sont sélectionnés comme corpus pour l'étude. L'étude révèle que les thèmes de la guerre, de la souffrance, de l'insécurité, des traitements inhumains, de l'oppression, de la pauvreté et des tendances à l'exploitation sont explorés par les poètes dans leurs créativités littéraires. L'étude conclut que pour que le Nigeria progresse, il est nécessaire de mettre fin aux problèmes civils, aux traitements inhumains et à l'exploitation politique et religieuse. Abstract The passion for poetry as one of the three major genres of literature appears unexciting for many people. The majority of young scholars and at times, older ones see poetry as a hard nut, which is difficult to break because of its use of condensed language. This study, therefore, engages in social reflections on selected Nigerian poems. The aim of this study is first, to rekindle and re-establish people’s interest, especially the younger generation, in poetry. With the application of content analysis as methodology and sociological perspective to literature as a theoretical framework, reflections are made on the Nigerian situations during the post-independent period of her political history. Poems of John Pepper Clark, Tanure Ojaide, Gbemisola Adeoti, Rotimi Johnson, and Olu Obafemi are selected as a corpus for the study. The study reveals that the themes of war, suffering, insecurity, inhuman treatment, oppression, poverty, and exploitative tendencies are explored by the selected poets in their literary creativities. The study concludes that for Nigeria. like many other developing countries around the world, to advance, there is a need to put an end to civil unrest, inhuman treatment, and political and religious exploitation.
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Esamagu, Ochuko. "Towards Environmental Justice: An Ecopoetical Reading of Ikiriko and Otto’s Poetry." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 243–57. http://dx.doi.org/10.36892/ijlls.v2i4.449.
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Ecology is a study that transcends disciplinary boundaries. It has roots in the sciences but enjoys a number of representations in the humanities, specifically through literature. Several African writers have in their imaginative works, portrayed the devastating condition of the environment in a 21st century technological-driven world and also proposed solutions to this malady. In fact, environmental degradation has become a global issue, hence, the pressing need for a lasting panacea. Attempts at literary ecocriticism in Nigerian literature have largely focused on prose fictional works and the poetry collections of older and second generation poets like Tanure Ojaide. Consequently, little research has been carried out on the representation of environmental degradation in the poetry of more contemporary poets like Ibiwari Ikiriko and Albert Otto. This paper therefore, is a critical, close reading of Ikiriko and Otto’s poetry engagement with environmental degradation. The paper adopts the notion of ecopoetry from the ecocritical theory, which accounts for poetry foregrounding questions of ethics in relation to the environment. It acts as a reminder to humans of their responsibility towards the earth and challenges the existing status-quo that has the environment and the common people at the mercy of the ruling class. In this paper, Ikiriko’s Oily Tears of the Delta and Otto’s Letter from the Earth are subjected to literary and critical analysis to examine their preoccupation with the destructive onslaught on nature, and the traumatic experiences of the marginalised. Amidst the environmental depredation, the poets express hope and revolutionary fervour towards the rejuvenation of their society.
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Afolayan, Bosede Funke. "The Court Poet/Praise Singer in Wole Soyinka’s Death and the King’s Horseman and Ola Rotimi’s Ovonramwen Nogbaisi: A Critical Appraisal." Afrika Focus 32, no. 1 (February 27, 2019): 137–48. http://dx.doi.org/10.1163/2031356x-03201009.
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Oral artists are a common sight in traditional African societies and were most prominent in old empires such as Oyo, Benin, Songhai and Mali. They also existed in the Zulu empire, northern Nigeria and among the Akan in Ghana. Their place is integral to the social and political well-being of these empires. In the Oyo empire, court poets are known as Olohun-Iyo. They are called griots in Senegal and Mali and among the Akan of Ghana, they are called Kwadwumfo. Modern Nigerian dramatists such as Wole Soyinka and Ola Rotimi have appropriated the image and roles of the court poet in Death and The King’s Horseman and Ovonramwen Nogbaisi respectively. This paper defines who a court poet is, his role as a maker and wordsmith, and the nature of his work and patronage. It examines the qualities he must possess and the content of his poetry. In examining the place of memory and remembering in the discharge of the poet´s duties, the paper investigates the various mnemonic and retrieval systems used by the poet to recall past accounts and great deeds of the kings. The roles of traditional court poets will be compared with the roles played by Olohun-iyo and Uzazakpo in the selected plays. The paper will also discuss what has become of oral artists in modern African societies. How viable is the art-form in the modern world with the advent of technology? Has civilization and modernity eroded their importance in society? While affirming their traditional advisory, prophetic, warning, motivational roles and as repositories of customs and culture, this paper concludes by stating the poet employs linguistic, para-linguistic and “medicinal” strategies to recall events at a given performance.
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Idegwu, Clement. "Oil, the Perennial Ache of the Niger Delta: A Critical Perspective on Two Collections of Poems." CLAREP Journal of English and Linguistics 5 (October 10, 2023): 83–105. http://dx.doi.org/10.56907/gsox7rm1.
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This paper examines the mutuality between human beings and their ecologies and the inevitable role of literature in critiquing these relationships, highlighting the beauty and the errors there in and what needs to be done to better the human world. This paper investigates the current state of the nation, Nigeria, and acquaints the people with the view that ecologies are over exploited by the Nigeria ruling class, in connivance with the multinational oil companies, leaving behind monumental and devastating ecological imprints on the landscape, fauna and flora. It investigates the poets’ intervention, the governments nonchalant attitude towards the peoples’ predicaments, the geometrical progression of poverty in the land and the way out of the dilemma. Using Ecocriticism, a trans-disciplinary approach, which scrutinises the relationship between biological sciences and literary imaginative works, the paper analyses the Ibiwari Ikiriko’s Oily Tears of the Delta and Sophia Obi’s Tears in a Basket which demonstrate the collective silence towards the exploitation of the Niger Delta region of Nigeria. This paper highlights, from the ecological perspective the pains of the Niger Delta region resulting from the environmental degradation, corruption and the criminality of the Nigerian government and the multinational oil companies. It also finds that there is a deliberate debasing of the nations landscape and calls on the government to do the needful. The paper concludes that there is a deliberate attempt to reawakening the peoples to rise up to the challenges of the moment in view of government insensitivity.
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Onyejizu, Raphael Chukwuemeka. "Versifying Unease in Postcolonial Nigerian Society: Politics of Corruption and Oppression in Akan Essien’s Stabbed Alive. Rage Alive and Halima Amali’s I Want to Join Them." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (July 8, 2021): 191–224. http://dx.doi.org/10.4314/ujah.v22i1.8.
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Postcolonial Nigerian society is confronted by corruption and oppression that emerged in the wake of independence. In recent times, these challenges have evolved in the creative consciousness of writers in their versified writings. Poetry, which serves as a veritable medium for the projection of philosophical thought, reflects these vagaries as the unique genre employed by poets for humanity that is dismayed by the irony of hope and survival. This paper examines corruption in politics and oppression of the masses. It showed that the drawbacks witnessed in the country attribute to the aforementioned variables. The choice of Essien’s Rage Alive. Stabbed Alive (2010) and Amali’s I Want to Join Them (2016) is informed by the fact that there is a lack of scholarly research on these collections. The paper adopts spivak’s postcolonial framework in the context of the Nigerian society, while the descriptive method of textual analysis aimed to show how political leaders in their deployment of corrupt and oppressive schemes, advance their kleptomaniac agenda. Thus, the study submits that for a functional and progressive society to exist, fundamental changes in its socio-political affairs must be undertaken.
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Akingbe, Niyi. "MYTHOLOGIZING YORUBA ORATURE: LOBOTO MIZING SWIVELLED PULSES OF LAUGHTER IN NIYI OSUNDARE’S WAITING LAUGHTERS AND REMI RAJI’S A HARVEST OF LAUGHTERS." Imbizo 6, no. 2 (June 21, 2017): 22–42. http://dx.doi.org/10.25159/2078-9785/2803.
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Every literary work emerges from the particular alternatives of its time. This is ostensibly reflected in the attempted innovative renderings of these alternatives in the poetry of contemporary Nigerian poets of Yoruba extraction. Discernible in the poetry of Niyi Osundare and Remi Raji is the shaping and ordering of the linguistic appurtenances of the Yoruba orature, which themselves are sublimely rooted in the proverbial, chants, anecdotes, songs and praises derived from the Yoruba oral poetry of Ijala, Orin Agbe, Ese Ifa, Rara, folklore as well as from other elements of oral performance. This engagement with the Yoruba oral tradition significantly permeates the poetics of Niyi Osundare’s Waiting laughters and Remi Raji’s A Harvest of Laughters. In these anthologies, both Osundare and Raji traverse the cliffs and valleys of the contemporary Nigerian milieu to distil the social changes rendered in the Yoruba proverbial, as well as its chants and verbal formulae, all of which mutate from momentary happiness into an enduring anomie grounded in seasonal variations in agricultural production, ruinous political turmoil, suspense and a harvest of unresolved, mysterious deaths. The article is primarily concerned with how the African oral tradition has been harnessed by Osundare and Raji to construct an avalanche of damning, peculiarly Nigerian, socio-political upheavals (which are essentially delineated by the signification of laughter/s) and display these in relation to the country’s variegated ecology.
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Adebiyi-Adelabu, Kazeem, and Olalekan Oyetunji. "Resistance and Revolutionary Aesthetics in Nnimmo Bassey’s Niger Delta Poetry." Ahyu: A Journal of Language and Literature 2 (December 4, 2021): 28–39. http://dx.doi.org/10.56666/ahyu.v2i.31.
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The criticism of Niger Delta eco-conscious poetry continues to generate new insights about the plight of the region, but with greater attention to the threnodic sensibility of the poets and the degradation of the environment. This article engages with two eco-conscious collections of Nnimmo Bassey, one of the prominent voices in the campaign against environmental degradation in Nigeria, especially the Niger Delta region of the country. With insights from Marxist theory, selected eco-poems from We Thought It Was Oil but It Was Blood (2002) and I Will Not Dance to Your Beat (2011) are closely read to demonstrate how the poet’s violent tone and resistance thematic inclination imbue the poems with revolutionary temper.
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Osadume, Richard C., and Edih O. University. "Port Revenue Performance and Economic Growth: The Nigerian Ports Authority Experience, 2010-2019." LOGI – Scientific Journal on Transport and Logistics 11, no. 2 (November 1, 2020): 1–11. http://dx.doi.org/10.2478/logi-2020-0010.
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AbstractThe Study examined Port Revenue Performance and Economic Growth: The Nigerian Ports Authority Experience, 2010 to 2019. The objective of this study is to examine the effect of Port Revenue Performance on Nigeria's economic growth by critically evaluating the Nigerian Ports Authority Performance. The neoclassical growth theory was employed in the study and the Nigeria Ports Authority was chosen as its sample, covering the period from 2010 to 2019. The study used secondary time series data sourced from the Nigeria Ports Authority and the National Bureau of Statistics and used the ordinary least square regression and the Engle-Granger co-integration to test the variables at the 5% level of significance. The findings showed that total revenue to gross registered tonnage had positive and significant effect on economic growth while operating surplus to operating revenue showed a negative but significant effect and operating surplus to cargo throughput showed insignificant effect; there was no co-integration between the variables. The study concludes that Port revenue performance affects economic growth in the short-run only, and it recommends amongst others that policy makers should formulate appropriate and implementable regulatory framework that will address infrastructural deficits at the ports and stimulate increased utilization by major foreign vessel companies.
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Idris, Dr Yahaya, and Abu-Ubaida Sani. "Future Situation of Northern Nigeria from Poetic Mirror: The Outstanding Prophesiers from Hausa Poets." International Journal of Social Sciences and Humanities Invention 5, no. 10 (October 3, 2018): 4998–5002. http://dx.doi.org/10.18535/ijsshi/v5i10.01.
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Abstract: Since the early ages of modern socialization amongst the Hausas, i.e. learning to read and write, poetry had been a good instrument used in educating, enlightening, orienting and passing across important messages among host of related others. Most of the early Hausa poet were knowledgeable, who had sound experience of the national affairs. They were also critical thinkers, so skeptical about the present and zealous of foreshadowing the future. They sometimes warned humanity on the dangers they forecasted, urging peoples to change attitudes for better. Against this background, this paper traces a number prophesies made by some Hausa poets, which have turned realistic. The poet forecasts some disastrous outcomes to loom Northern Nigeria, shall the Northerners dare not to cease certain attitudes and some bad practices. This paper traces the instances of such prophesies made by poets, which are obviously realistic today. The study is limited to three selected poems viz: AJM, TSW and MAHRƘW. However, the study found that, a number of prophesies made by the selected Hausa poets in forms of warning and or alarms have been realized. Finally, the paper tabled some suggestion among which one is, that reading and listening to poems should aimed beyond mere passion of its tranquil nature. There teachings should rather be carefully studies and fittingly utilized.
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Adebiyi-Adelabu, Kazeem. "Dictatorship, Trauma, and Scriptotherapy in Remi Raji’s A Harvest of Laughters." Research in African Literatures 53, no. 4 (January 2023): 75–95. http://dx.doi.org/10.2979/reseafrilite.53.4.06.
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ABSTRACT: This article examines how Remi Raji, a third-generation Nigerian poet, reenacts the social pains and “dis-eases” of the military dictatorship era in Nigeria in A Harvest of Laughters as traumatogenic, as well as how the poet writes himself out of the trauma. While the article espouses the extant critical notion that the poet offers laughter to the victims of structural violence, social pains, and “dis-eases” of the military rule era in the country as a balm, it complicates the view by arguing that the poet’s versification in the volume and, more importantly, his infatuated exploration of laughter is readable as scriptotherapy. The poems titled “Introit,” “I rise now,” “Gift,” “Black Laughter,” “Silence,” “Silence II,” “Orphan Cry”, and “Harvest I–VI” are used to demonstrate this. The analysis draws anchor from Laura Brown’s and Stef Craps’s conceptions of trauma and Geri Chavis’s and some other psychological therapists’ insights on writing and therapy.
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Adebiyi-Adelabu, Kazeem. "Dictatorship, Trauma, and Scriptotherapy in Remi Raji’s A Harvest of Laughters." Research in African Literatures 53, no. 4 (January 2023): 75–95. http://dx.doi.org/10.2979/ral.2023.a905362.
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ABSTRACT: This article examines how Remi Raji, a third-generation Nigerian poet, reenacts the social pains and “dis-eases” of the military dictatorship era in Nigeria in A Harvest of Laughters as traumatogenic, as well as how the poet writes himself out of the trauma. While the article espouses the extant critical notion that the poet offers laughter to the victims of structural violence, social pains, and “dis-eases” of the military rule era in the country as a balm, it complicates the view by arguing that the poet’s versification in the volume and, more importantly, his infatuated exploration of laughter is readable as scriptotherapy. The poems titled “Introit,” “I rise now,” “Gift,” “Black Laughter,” “Silence,” “Silence II,” “Orphan Cry”, and “Harvest I–VI” are used to demonstrate this. The analysis draws anchor from Laura Brown’s and Stef Craps’s conceptions of trauma and Geri Chavis’s and some other psychological therapists’ insights on writing and therapy.
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Ojutalayo, John F., Kenneth U. Nnadi, Obed B. Ndikom, Bonaventure A. C. Akujuobi, and Theophilus C. Nwokedi. "Assessment of the Influence of Maritime Piracy and Sea Robbery on Cargo throughput Performance of Nigerian Ports." European Journal of Maritime Research 2, no. 3 (May 10, 2023): 1–4. http://dx.doi.org/10.24018/maritime.2023.2.3.1.
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The study assessed the impact of maritime piracy and sea robbery on the cargo throughput performance of Nigeria ports. The central objective of the study was to determine the significances of the influences of levels of attacks against ships trading in global cum local waters and maritime insecurity induced cargo pilferage levels on the cargo throughput performance of Nigeria ports. The study used secondary data sourced from the Nigerian ports authority, and the International Maritime Bureau (IMB) on the cargo throughput, levels of pirate attacks against ships in local; and global waters, level of cargo pilferages in ports and used for the study. The multiple regression analysis method was used to analyze the dataset obtained using cargo throughput performance of the ports as the dependent variable while global attacks, local attacks and volume of cargo pilfered were used as independent variables. the model showing the effects of maritime piracy and sea robbery attacks on the cargo throughput performance of the Nigerian ports is: CARGOt= 0.729700 +0.0140GLOTAKSt – 0.0921LOTAKSt –0.0003VOCARPt ….. (2). It indicates that a unit increase in attacks in global waters increases the cargo throughput in Nigerian ports by 0.0140 units while a unit increase in local attacks by pirates within the Nigerian territorial waters causes cargo throughput performance of Nigerian ports to decrease by 0.0921 units. Similarly, a unit increase in cargo pilferage associated with maritime insecurity in Nigeria ports causes the cargo throughput performance of the ports to decrease by 0.0003 units. It is also found that that there is a significant impact of the level of maritime piracy/sea robbery on the cargo throughput performance of the Nigerian seaports.
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Odia, Clement Eloghosa, and Esther Iria Jamgbadi. "Spatializing Poetry through Evaluation of Ecocritical Spaces in Tony Afejuku’s <i>A Spring of Sweets</i>." International Journal of Current Research in the Humanities 27, no. 1 (April 30, 2024): 124–39. http://dx.doi.org/10.4314/ijcrh.v27i1.8.
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This essay explores the interplay between spatial literary criticism and ecocriticism and how they help present the poet’s representation of ecological destruction in the Niger Delta. It reads the poems of Tony Afejuku in the collection: A Spring of Sweets (henceforth abbreviated as ASOS). Through textual-analytic method, the poems are critically read to unveil the various connotations evident in the construction of ecocritical spaces. The spatial configuration of the poems reveals that two main ecocritical spaces are framed to underscore the poetic vision of the Niger Delta environment. The article concludes that Afejuku spatialises Warri River as well as oil companies as ecocritical spaces through which the reader can appreciate the depth of ecological hazard happening in the Nigerian coastal region, the Niger Delta.
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Oyewole and Francis Olufemi. "Influence of work automation on the performance of nigerian ports." Journal of Management and Science 10, no. 3 (September 30, 2020): 12–24. http://dx.doi.org/10.26524/jms.10.3.
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The study examined the influence of work automation on the performance of Nigeria ports. The study population was the entire sea-ports in Nigeria. In line with the purpose of study, the study adopted the survey/cross sectional approach. The major research instrument used collect data was the questionnaire. Thirty (30) copies of questionnaire were distributed to the respondents from the six major sea-ports in Nigeria. The respondents were department heads and senior port managers. Work automation was used as the independent variable of the study and measures of port performances were productivity and the throughput level of the sea-port. Two hypotheses were developed and tested to determine the extent of the relationship between the study variables. Pearson product moment analysis was used to test the stated hypotheses with the aid of statistical package for the social sciences (SPSS 22.0). The findings of the study revealed that to a very large extent, work automations are often used as key performance indicators (KPI) in Nigeria port. This is true of the system of administration of all port management authority in Nigeria. To a very large extent, the study observed that ports give room for the assessment of work automations. To a very large extent, the respondents were allowed to make variety of inputs on work automations in their various sea-ports. Staff of the ports have the requisite skills to give critical assessment on the issues of work automations. Conclusively, it is evident from the study that there is significant relationship between work automations and productivity in Nigerian ports and there is significant relationship between work automations and cargo throughputs in Nigerian ports. Therefore, port managers should improve on the service quality of their port by recommending improve work automation of the port activities in such a manner that will aid the effective performances of the port operations.
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Oyewole and Francis Olufemi. "Influence of work automation on the performance of nigerian ports." Journal of Management and Science 10, no. 3 (September 30, 2020): 12–24. http://dx.doi.org/10.26524/jms.3.3.
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The study examined the influence of work automation on the performance of Nigeria ports. The study population was the entire sea-ports in Nigeria. In line with the purpose of study, the study adopted the survey/cross sectional approach. The major research instrument used collect data was the questionnaire. Thirty (30) copies of questionnaire were distributed to the respondents from the six major sea-ports in Nigeria. The respondents were department heads and senior port managers. Work automation was used as the independent variable of the study and measures of port performances were productivity and the throughput level of the sea-port. Two hypotheses were developed and tested to determine the extent of the relationship between the study variables. Pearson product moment analysis was used to test the stated hypotheses with the aid of statistical package for the social sciences (SPSS 22.0). The findings of the study revealed that to a very large extent, work automations are often used as key performance indicators (KPI) in Nigeria port. This is true of the system of administration of all port management authority in Nigeria. To a very large extent, the study observed that ports give room for the assessment of work automations. To a very large extent, the respondents were allowed to make variety of inputs on work automations in their various sea-ports. Staff of the ports have the requisite skills to give critical assessment on the issues of work automations. Conclusively, it is evident from the study that there is significant relationship between work automations and productivity in Nigerian ports and there is significant relationship between work automations and cargo throughputs in Nigerian ports. Therefore, port managers should improve on the service quality of their port by recommending improve work automation of the port activities in such a manner that will aid the effective performances of the port operations.
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Alága, Ìyábọ̀dé Baliquis, and Luqman Abísọ́lá Kíaríbẹ̀ẹ́. "Thematic Preoccupations of D. A. Ọbasá and Ṣóbọ̀ Aróbíodù on Religion and Colonialism." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–23. http://dx.doi.org/10.32473/ysr.v5i1.130065.
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The works of D.A. Ọbasá and Ṣóbọ̀ Aróbíodù, the two intelligensias of Yorùbá poetry, have been the focus of earlier scholarly works in Yorùbá, with little attention given to the comparative study of their poetry. Therefore, this essay is a comparative analysis of the two poets’ poems with particular reference to issues relating to religion and colonialism. Our findings reveal that Ṣóbọ̀ Aróbíodù usually comments on issues in a direct manner while Ọbasá comments both directly and indirectly on religious and colonial issues. Also, Ṣóbọ̀ Aróbíodù’s comments on religion are basically to commend Christianity as introduced in Nigeria by the European missionaries, while Ọbasá’s poetry usually satirizes or lampoons Islamic and traditional religions. Generally, Ọbasá’s view is mainly on Yorùbá ideology while religion and colonialism are the primary foci of Ṣóbọ Aróbíodù’s poetry. ̀ Therefore, there is no gainsaying that both poets advocate against religious autocracy. They both believe that colonialism is actually good, but they also argue that it also has a lot of disadvantages, which destroyed Yorùbá cultural heritage. Besides, both poets see colonialism as a movement that brings to the fore African modernization. The essay concludes that Ṣóbọ̀ and Ọbasá are both social poets in the areas of religion and colonialism.
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Osuji, J. N., and J. Agbakwuru. "Sustainable Inland Ports in Nigeria: An Opportunity for Growth of Nigerian Nation." Journal of Applied Sciences and Environmental Management 27, no. 5 (May 31, 2023): 965–73. http://dx.doi.org/10.4314/jasem.v27i5.12.
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This paper discusses the factors that militate against the growth and sustainability of the Nigerian Inland waterway ports from secondary data and inductive research perspective. The Nigerian nation has adequate coverage of major inland waters that are either navigable at present or potentially navigable if a waterway clearing and dredging is implemented. Generally speaking, Nigeria has enormous inland water potential that is capable of maximally reducing the pressure on other modes of transportation especially road, in the transportation of heavy equipment and bulk goods both solid and liquid. Sustainable Inland waterway ports and transportation are undoubtedly a panacea for job creation and promotion of commerce at local and riverine community levels through boat building, fabrication, and transport.
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Abraham, Obakachi A. "A Comparative Study of Environmental Struggles in the Poetry of Tanure Ojaide and Marilyn Dumont of First Nations (Canada)." International Journal of Literature, Language and Linguistics 6, no. 1 (January 11, 2023): 1–14. http://dx.doi.org/10.52589/ijlll-dm16c8xp.
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Earlier studies on the Niger Delta poetry of Nigeria and First Nations poetry of Canada have focused primarily on the environmental and minority concerns in the individual literature of these two regions. The environmental concerns in these two literary traditions are a result of the minority status of the regions with hegemonies depriving the indigenous people of control in the ways their landscapes and waterscapes are engaged. This present study takes these issues to a comparative level, investigating how the two marginal groups are reacting to the hegemonies that pushed them to the peripheries and the aesthetics the selected poets employ to combat local and global environmental changes in their collections. Tanure Ojaide’s Niger Delta Blues and Other Poems, and Dumont Marilyn’s The Pemmican Eaters are comparatively explored with the focus of exposing the similarities and differences in the portraitures of their environments. This study finds that the selected poets from both regions depict the primordial symbiotic relationship that existed between humans and non-humans in their environments, especially prior to the commencement of mineral resources exploitation in their regions. Poems from both regions compare the harmonious past with the disharmony of the present to raise global awareness of the problems caused by capitalist agents in the exploitation of the environment. Similarly, oral traditions are depicted as viable aesthetics which promote the harmonious human-environment relationship. The selected collections of poetry have political undertones and represent the people’s collective aspirations, it is against this that they recreate the myths around their activists and heroes to document the history and raise environmental consciousness among the people. The poets of the two literary traditions compared, however, differ in the following areas: the poets of First Nations are more impressionistic in depicting environmental struggles while Niger Delta poets rely on metaphors and images to portray their environmental struggles. The study concludes that the environmental and minority struggles portrayed in the selected collections show the pursuit of environmental justice for their marginalised regions, and by extension, it is a contribution to the global environmental discourse.
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Tatang Iskarna. "The Portryal of Christianity in Achebe’s Arrow of God: A Postcolonial Perspective." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 7, no. 2 (December 7, 2020): 1–14. http://dx.doi.org/10.33541/dia.v7i2.3047.
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AbstractThe emergence of postcolonial criticism makes the voice of Africans’ colonial experience heard and seriously considered. In some ways, this voice is a little bit different from what the European poets or novelists have expressed in their literary texts. For most Europeans, colonialism is perceived as a civilizing force that benefits and progresses to the colonized African societies, primarily through one of its arms: Christianity. Although this religion, as most missionaries propose, has nothing to do with the worldly affair, such as a lust for natural resources and colony, it becomes an important cultural element to help the Europeans conquer the colonized African natives. During the era of colonialism, Christianity in Western discourse is perceived as a means of setting the African natives free from the barbaric traditional belief and savage way of life. Through Christianity, the colonized African natives are educated and taught to live a more modern and civilized life. However, some African writers at times give a different perspective on Christianity. This article explores how Christianity is portrayed through the characters and conflicts in Arrow of God (1964), a novel written by a Nigerian named Chinua Achebe. This portrayal can lead to a postcolonial discourse the novel intends to propose.
Keywords: Christianity, colonialism, postcolonial criticism, postcolonial discourse
Abstrak
Munculnya kritik sastra poskolonial menjadikan suara yang mengekspresikan pengalaman kolonialisme dapat didengar dan sungguh-sungguh dapat diberi perhatian. Suara ini dalam beberapa hal agak eberbeda dengan apa yang disampaikan oleh novelis dan penyair Eropa dalam karya-karya mereka. Bagi kebanyakan orang Eropa, kolonialisme dipandang sebagai kekuatan pemberadaban yang dapat memberikan keuntungan dan kemajuan bagi masyarakat Afrika yang terjajah, terutama melalui salah satu tangan kanannya, yaitu agama Kristen. Meskipun agama ini tidak terkait dengan urusan nafsu dunia, seperti keinginan untuk menguasai sumber daya alam maupun tanah koloni seperti yang sering dikatakan oleh para misionaris, agama ini menjadi elemen penting untuk membantu kaum kolonial Eropa manaklukkan orang-orang pribumi Afrika. Selama masa kolonial, agama Kristen dalam wacana Barat dipandang sebagai media untuk membebaskan orangorang Afria dari kepercayaan tradisional yang barbar dan cara hidup yang tidak beradab. Melalui agama ini, orang-orang pribumi Afrika dididik dan diajar untuk menghidupi kehidupan yang lebih modern dan beradab. Namun demikian, beberapa sastrawan Afrika memberikan perspektif yang berbeda terhadap agama Kristen. Artikel ini akan mengeksplorasi bagaimana agama Kristen digambarkan melalui tokoh dan konflik dalam novel Arrow of God (1964) karya sastrawan Nigeria, Chinua Achebe. Gambaran ini akan menuntun pembaca pada wacana poskolonial yang dibangun oleh novel ini.
Kata kunci: Agama Kristen, kolonialisme, kritik sastra poskolonial, wacana poskolonia
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Osondu-Okoro, Chukwuebuka Godfrey, Theophilus Chinonyerem Nwokedi, Justice Chigozie Mbachu, Nwokeka Eme Ogwo, and Joshua Osuji Nwachukwu. "Ship Turnaround Time and Vessel Traffic in Nigerian Ports: A Correlation Analysis." European Journal of Maritime Research 1, no. 1 (November 15, 2022): 19–24. http://dx.doi.org/10.24018/maritime.2022.1.1.3.
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The study investigated the correlation between ship turnaround time and vessel traffic in four Nigerian ports of Onne, Rivers, Delta and Calabar with a view to providing empirical justification for or against the assertion that long ship turnaround time in Nigeria ports is associated with the declining trend of vessel calls at the ports. Secondary data on the ship turnaround time (STRTt) and ship traffic (STt) of the ports were obtained from Nigeria ports Authority (NPA). The data obtained for each of the variables covered a period of 10 years between 2010 and 2019. The statistical tools of correlation analysis and trend analysis were used to analyze the data obtained. It was found that the effects of the of ship turnaround time on vessel calls to ports are port specific, suggesting that factors other than ship turnaround time, such proximity to shippers location, port charges and ship dues, cargo safety, absence of bottlenecks in the customs and clearing process, etc., may interact to influence the choice of ports. The study also found that there is a weak association/relationship between ship turnaround time in ports and ship traffic/ship calls at ports. The result also indicates that the Nigerian ports are far from achieving the global average benchmark ship turnaround time. The Average ship turnaround time in Onne port is about 49% while Delta port is about 92% higher than the global average benchmark of 2days in port. Calabar and Rivers ports have respective 150% and 241% higher ship turnaround times than the global average benchmark. It was recommended that port authorities and terminal operators should work to reduce the high ship turnaround time in Nigerian ports to meet with global average benchmark among other things.
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Udumukwu, Onyemaechi, and Onyinyechi Ugwuezumba. "HYBRID IDENTITY IN NIYI OSUNDARE'S VILLAGE VOICES AND SONGS OF THE MARKETPLACE." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 174–79. http://dx.doi.org/10.56666/ahyu.v2i.91.
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Ethnic and social differences have continued to manifest in postcolonial African countries often leading to great animosity and bloody clashes. This paper has used Homi K. Bhabha's ideologies of difference and hybridity to study selected poems from Niyi Osundare's Village Voices and Songs of the Marketplace. Such a study is important in order to bring to light the underlying political, ethnic, cultural, religious and social differences reflected in contemporary Nigerian literature and the effects of colonialism on individual private and public experiences. Theresearchers have applied deconstruction of discourse to the selected poems in order to cancel the binary opposition created by the apparent reflection of difference and to bring out the liminal situations that lead to what Homi Bhabha has called hybrid identity. The analysis of selected poems has shown that postcolonial Nigeria is suspended in a liminal space where traditional differences have been dissolved giving way to unrecognizable characters whose actions and inactions have helped to create a third class of hybrid characters.
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Oripeloye, Henri. "Factional realities in Remi Raji's Gather My Blood Rivers of Song." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 170–80. http://dx.doi.org/10.17159/tvl.v.54i1.11.
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This paper explores the transformative vision of the Nigerian poet, Remi Raji from imaginative mooring in his earlier works to factional realities in Gather My Blood Rivers of Song published in 2009. In some poems in this collection, Raji embraces factional realities as he grapples with the narration of actual existence in Nigeria. This signifies a movement away from the speculative construct of the imagination as he presents the tangible properties of events, not as history, but the facts in reality. This differentiates him from other writers who merely re-echo or document events. Based on the materialist frame of reference presented in some of the poems in this collection, Raji is able to enact plausible narrations that have identifiable referentiality through which he guides his poetic presenta- tion of actual human existence.
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Lar, Isaac Barko. "From tragedy to triumph: a critique of selected poems in Idris Amali’s Generals without War." Transfer. Reception Studies 6 (December 30, 2021): 101–16. http://dx.doi.org/10.16926/10.16926/trs.2021.06.13.
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This critical analysis tagged From Tragedy to Triumph: A Critique of selected Poems in Idris Amali’s “Generals without War” is best understood in the context of Nigerian literary history. Barely five years after independence from Britain, a few soldiers from the Nigerian army headed by Major Chukwuma Nzeogwu staged the January 15, 1966 coup. Since then, it was a tale of one military regime toppling the other. The democratic government of President Shehu Shagari was inaugurated on October 1, 1989 only for General Muhamadu Buhari to displace him in the December 31, 1983 military putsch. General Babangida toppled Buhari and later conducted an election in 1993. Moshood Abiola won a landslide victory, but Babangida aborted the process and installed the puppet civilian regime of Ernest Shonekan. General Sani Abacha displaced him after three months and later died in June 1998. General Abdulsalam became the new ruler and purposefully restored democratic rule in October 1999. On the whole, each military regime that displaced its predecessor claimed a “Messianic” role of coming to salvage the nation from ruin, restoring order and setting Nigeria on the right course of economic prosperity, peace and progress. Yet with a few notable exceptions, most of the military regimes plundered the nation, were despotic, lacking in discipline, and entrenched a culture of impunity that is at the centre of corruption in Nigeria today. Thus, the military liberators proved to be an affectation of who they actually claimed to be. It is in this context of dictatorship and maladministration that Idris Amali’s poems were written.