This study presents an interdisciplinary approach towards a critical analysis of some impacts of crude-oil exploration in Niger Delta and polemics of viable conϐlict resolution framework. This approach involves analysis of Ahmed Yerima’s creative portrayal in Hard Ground which revolves around the variables activating conϐlicting emotional interests in matters concerning ‘black gold’ in Nigeria, and how these variables resonant in debates and demands for Nigeria’s polity restructuring because of perceived resource mismanagement. More so, our scope includes an analytical attempt at illuminating elaborately our interpretation of the dimensions to the loud and shrewd inclinations subsuming what some see as solution to the lingering conϐlict, and the suppositions explaining why others see the debates and demands on polity restructuring as dark convoluted ploys aimed at hidden agenda. Hence, through select theories of victimhood, this study attempts to elucidate on the variables propelling conϐlicting emotional interestsabout oil exploration in Niger Delta, by looking interpretively hard and deep on the perspectives, views and suppositions deϐining the ideologies and inclinations propelling them. In the end, this study notes that the disenchantments and troubles with Nigeria’s polity framework and structure as it relates to oil exploration in Niger Delta are subsumed in Hard Ground’s creativecontribution as a means of assessing the points to the fault-lines that characterize the subsisting socio-political structure upon which Nigeria stands and wobbles.
This study examines the aesthetics and shades of portrayals of ghosts as supernatural and metaphysical realities in two Nollywood films Heart of a Ghost and A Ghost Story as representations of Igbo worldviews on ghosts' realities. Our aim is to present an analytical explanation of the filmic attributions in relation to historical as well as the subsisting socio-cultural worldviews of the Igbo people regarding ghosts. Therefore to extrapolate on the subsumed Igbo worldviews and philosophies about ghosts in the selected films, this study adopts theoretical purviews on magical realism and Charles Peirce's inclination on interpretive community theory as the preferred conceptual praxis. Furthermore, this study applies critical interpretive analysis as the adopted analytical approach. Thus, the relevance of these portrayals to the subsisting sociocultural worldviews about ghosts among the Igbo forms part of our thematic purview. Essentially this study sufficiently provides plausible answers to questions bothering on whether ghosts exist in the manner portrayed in the two films, as well as plausible analysis of the significations of ghosts' appearances in clothing and whether ghosts do change their clothing like humans from time to time.
This study examines the application language and speech for the purpose of deception as a means of achieving concealment of information as portrayed in two plays of a Nigerian playwright Emeka Nwabueze. Thus, this study attempts to discuss some typologies of deception and concealment of information as a means of understanding better, the reasons and circumstances that inform the description of concealment of information as good, bad, devious, ugly, legal or illegal. This attempt will help us to interpret why and when concealment of information as well as deception are essential in achieving survival, progress, redress, defence, discovery, illumination, satisfaction or vendetta directly or indirectly. Though concealment of information can occur through inaction and nonverbal mediums, we are focusing on deception through language and speech, and how worldview aids in locale specific definition and perception of forms of deception and concealment of information. The discussion in this study revolves around interpretive analysis approaches as means of accessing applicability of some theories of concealment and deception in describing behaviours in these categories as universal common with shades of interpretive community perspectives. Lastly, the didactic relevance of Nwabueze’s projection of presumed propelling forces and the consequences of concealment of information in the plays understudy, subsumes the understanding of deception as a universal common with trajectories of interpretive community suppositions.
This paper presents a critical comparative inquiry aimed at discussing patterns of Chinua Achebe’s A Man of the People and Emeka Nwabueze’s A Parliament of Vultures, portrayal, definition, situation as well as contextualization of political corruption and charlatanry in Nigeria. In addition, we are looking at how the texts’ application of the same literary device in projecting similar massages through biting satirical undertones, scathing rebukes and grim humour. Hence, we shall examine the effectiveness of this device in specific instances. To this end, this study seeks to interpret the embedded messages in the texts’ projections of corruption and charlatanry through two characters – Chief Nanga in A Man of the People and Mrs. Omeaku in A Parliament of Vultures. Furthermore, our aim is to explain what the texts view as the immediate and future consequences of the alluded negative vices to the society, espouse on the variables they adduce as the propelling forces, understand better their suppositions on why these vices fester, and adumbrate on suggestions from the texts on how these vices can be eradicated or contained. To carry out this discussion, we are applying theories espousing on reasons behind corruption in politics, and our discussion will be hinged on interpretive approach.
The importance of market in human society has been recognized not only from the practical utilitarian point of view but also from the theoretical dimensions of economics, anthropology and other social sciences. In most traditional society, the market like other institutionalized components of the community, started in a relatively simple pattern and gradually developed into a relatively complex and heterogeneous organization where women play an important part. The aim of this paper is to investigate the portraiture of women in the market place in three contemporary Nigerian plays and examine the signification of this against the larger backdrop of women’s economic, social and political empowerment in traditional society.
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