Relevant bibliographies by topics / Poets, Nigerian

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Poets, Nigerian'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Poets, Nigerian"

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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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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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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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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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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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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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Dissertations / Theses on the topic "Poets, Nigerian"

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Nwanosike, F. "Evaluation of Nigerian ports post-concession performance." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24469/.

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Concession has been acknowledged as a valuable tool for port authorities to retain control of ports and shape the supply side of the terminal market, in the absence of full privatisation. This study empirically examines the influence of transfer of port operational services from the public to the private sector, through concession contracts on operational performance in the context of the Nigerian port industry. It extends the work of Liu (1995) and others on the comparative performance of public and private ports in the UK and other countries, by extending the study to the Nigerian ports concessions. The Nigerian port reform was borne out of the belief that the transfer of port operations from the public to the private sector will improve the efficiency of the ports, by instigating competition among the various terminal operators. The Nigerian port concession involved the delineation of six Nigerian ports into 25 terminals and awarded to terminal operators. The objectives of the study include, among others; the benchmarking of pre- and post-concession efficiency, to determine sources of efficiency change and to determine factors responsible for the improvement of Nigerian port performance. A positivist approach is adopted, using quantitative data that involves outputs and inputs related to the port‘s production function. Theoretical underpinnings of privatisation and performance, as well as empirical evidence from countries, were presented and discussed. The variables of the research were analysed using non-parametric DEA and the Malmquist Productivity Index to determine the efficiency and the sources of productivity change respectively. This study introduced a novel idea, by adopting a concentration index in measuring the level of competitiveness of ports. The conceptualised theoretical model of operational performance was solved using a two-stage multivariate regression, to determine the factors responsible for the improvement of the Nigerian ports‘ efficiency. The results of the analysis suggested that the productive performance of the ports under consideration improved after the transfer of terminal operations to the private sector, though not in all the ports. Indicating that the wholesale concession of the ports is not the best after all, some ports would have been better left under public ownership. The driver of the improved efficiency after concession, is scale efficiency (increased throughput levels), rather than technical efficiency. Therefore, the post-concession Nigerian ports performance is influenced by the scale of production and change of ownership. The delineation of the ports into terminals has not ushered in the expected competition among and within the ports.
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Falowo, Isaac Oladipo. "The development of the Nigerian ports 1970 - 1982." Thesis, University of Glasgow, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316385.

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Books on the topic "Poets, Nigerian"

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Five hundred Nigerian poets. Makurdi, Benue State, Nigeria: Aboki Publishers, 2005.

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Ezenwa-Ohaeto, Ngozi. Minstrels never die: Selected writings of Ezenwa-Ohaeto, vol. 1. Awka, Nigeria: Scoa Heritage, 2011.

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Nwakanma, Obi. Christopher Okigbo, 1930-67: Thirsting for sunlight. Woodbridge, Suffolk [England]: James Currey, 2009.

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I, Bello Kano, and Saeed A. G, eds. The public poet: A biography of Mudi Sipikin. Kano: Centre for Democratic Research and Training, 2003.

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Anthony, Isaac Ebika. Rural rhythms: Poems. Ibanan, [Nigeria]: Ebiks Theatre Studio in collaboration with Creative Books, 2007.

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Udeozo, Obu. Electronic eagles: [selected poems]. Jos, Nigeria: Fab Educational Books, 2013.

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Songs for the thrush: Poems of diamond celebration for Niyi Osundare. Ibadan: Creative Books in collaboration with Ebiks Theatre Studio, 2007.

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Adagbonyin, Asomwan. Niyi Osundare: Two essays and an interview. Ibadan, Nigeria: Sam Bookman for Humanities Research Centre, 1996.

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Udeozo, Obu. Penumbra: Gardeners of dreams series. Jos, Nigeria: Fab Educational Books, 2012.

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Christopher Okigbo, 1930-67: Thirsting for sunlight. Woodbridge, Suffolk [England]: James Currey, 2009.

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Book chapters on the topic "Poets, Nigerian"

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Ojaide, Tanure. "An Insider Testimony: Odia Ofeimun and His Generation of Nigerian Poets." In Indigeneity, Globalization, and African Literature, 119–31. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137560032_8.

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Oji, Okechukwu George, and Chukwuma Agu. "How Competitive and Efficient are Nigerian Ports?" In Economic Policy Options for a Prosperous Nigeria, 275–99. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583191_13.

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Iwoketok, Uwemedimo Enobong. "Anaang Poets & Universal Themes." In Convergence: English and Nigerian Languages, 507–18. M and J Grand Orbit Communications, 2016. http://dx.doi.org/10.2307/j.ctvh8r1h7.43.

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Endong, Floribert Patrick C. "A Latter-Day Sodom and Babylon." In Advances in Media, Entertainment, and the Arts, 1–28. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9312-6.ch001.

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This chapter examines the manner in which Nigerian bloggers and web journalists interpreted, framed and represented Obama's gay rights diplomacy in Nigeria. The chapter specifically explores the extent to which these web journalists' interpretations of the American pro-gay movement generated new religion-inspired representations of the U.S. government and Americans on the social networks. The study is based on a quantitative and qualitative content analysis of over 162 online articles generated by Nigerian citizen journalists in reaction to Obama's gay rights advocacy in Nigeria and Africa. It answers the following research questions: how did Nigerian web/citizen journalists frame Obama's pro-gay move? What was their tone? How did they represent America and its people in their articles or posts? And how did religion and culture influence the latter's representations of America and Americans?
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Endong, Floribert Patrick C. "Using Social Media to Advocate LGBT Rights in Black Africa." In Advances in Social Networking and Online Communities, 203–27. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2854-8.ch010.

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The prevalence of draconian homophobic laws in Cameroon and Nigeria has systematically stultified sympathy for the LGBT communities and made pro-gay street activism a risky venture in these two countries. In view of this, a good number of gay rights activists have resorted to the social media as a suitable platform for a less risky advocacy. Using the social media has afforded them the opportunity to explore interactive, post-modern, and personified approaches to sensitizing and mobilizing their readership in favour of gay proselytism in Cameroon, Nigeria, and some other parts of Africa. Based on a content analysis of 200 blog posts and web/facebook pages generated by Cameroonian and Nigerian gay activists, this chapter measures the extent to which gay activists adopt a national/local perspective versus the level to which they adopt an international perspective in their online advocacy. The chapter equally examines the degree to which these citizen journalist/activists construct their advocacy discourse from the prism of a cultural war between the West and Africa.
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Odifemenuwe, Joy. "Nigeria! One week, one trouble." In Best "New" African Poets 2018 Anthology, 255–57. Mwanaka Media and Publishing, 2018. http://dx.doi.org/10.2307/j.ctvh9vtn3.174.

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Fludernik, Monika. "Poeta in Vinculis II." In Metaphors of Confinement, 171–224. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0003.

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Continuing the contrast between personal accounts of imprisonment and fictional elaborations of carceralities, Chapter 3 concentrates on the twentieth century and on (post)colonial contexts. The three authors discussed at length are Brendan Behan, the Irish dramatist; Ken Saro-Wiwa, the Nigerian author and ecological activist; and Breyten Breytenbach, the South African poet. Whereas Behan’s and Saro-Wiwa’s autobiographical texts, at least on the surface, appear to be quite reliable, i.e. factual, accounts of their imprisonment, their literary work, just like Breytenbach’s, is highly allusive, ironic, and allegorical; they model the carceral experience through distortive lenses of comedy, farce, satire, or parable. The chapter also emphasizes the use of the prison and legal criminalization as major political strategies of discrimination against (ethnic and other) minorities as well as political dissidents.
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Olajimbiti, Ezekiel. "The Pragmatics of Political Deception on Facebook." In Advances in Media, Entertainment, and the Arts, 308–25. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8535-0.ch017.

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Facebook, an intrinsic part of 21st century social realities where cognitive-participatory activities are largely captured, is consistently explored for political deception. This chapter investigates how participants utilize language to deceive politically the Nigerian electorate on Facebook. For data, 250 Facebook posts on Nigerian politics were sampled, out of which 50 were purposefully selected for being highly rich in deceptive content in order to unpack online deception through multimodal critical discourse analysis. Four deceptive forms—equivocation of identity, exaggeration of performance, falsification of corruption cases, and concealment of offences—within two socio-political contexts—election and opposition—constituted the posts. These prompt an evocation of a messianic figure, blunt condemnation, and evocation of sympathy and retrospection to achieve the political intentions of criticism, self-presentation, silent opposition, and galvanizing public support. The chapter concludes that political propaganda taps into Facebook users to appeal to their political biases and sway their opinions.
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Bower, Rachel. "Tony Harrison: Nigeria, Masque and Masks." In New Light on Tony Harrison, 81–90. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0008.

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Rachel Bower pays unprecedented attention to Aikin Mata, the version of Aristophanes’ bawdy comedy Lysistrata that Harrison wrote and produced with the Irish poet, James Simmons, when they were teaching at Ahmadu Bello University in Northern Nigeria in 1965. She argues that this encounter with indigenous African performance idioms has had a lasting influence on his later creative practice as well as the emergence of intercultural approaches in world theatre more widely.
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Asakitikpi, Aretha Oluwakemi, and Samuel Oluwafemi Adeyeye. "Discourse and Multimodal Analysis of Netizens' Reactions to the Nigerian 2015 Presidential Elections." In Advances in Electronic Government, Digital Divide, and Regional Development, 90–105. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1859-4.ch006.

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Words and images are channels through which identities and realities are created. In the traditional mass media the power to do this is controlled by management in accordance to prescribed rules and stakeholder desires. This concept shifts with newer media forms like Facebook which transforms the power into the hands of the netizens. This is considered in relation to postings on the Facebook pages of the Osun Political Parrot with regards the Nigerian Presidential Election. The chapter builds its analysis on the liberty netizens have through the internet and the limited monopoly the encoder has over their uploaded comments. It examines the quality of comments netizens make based on their application of intertextually derived knowledge from other media texts. Using Discourse Analysis and Multimodal Methods, examinations of word and image associations in uploaded posts and comments made on March 22-28, a week to the Nigerian 2015 Presidential Elections is done.
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