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Women have been victims of gender ideology which, according to Hussein (2005), is a systemic set of cultural beliefs through which a society constructs and wields its gender relations and practices. Gender ideology contains legends, narratives and myths about what it means to be a man or a woman and suggests how each should behave in a society (Olabode, 2009). Women are a non-homogenous group as their status and roles in the society are determined by a complexity of factors such as being a daughter, sister, and wife; a cultic member; and the economic and political positions they hold in the market place and in local governance (Ilesanmi, 2013). Sub-ethnic variations were also reported in customs and practices such as a marriage and family life, pre-natal and post-natal practices and others. Men in various sub-ethnic (Yorùba) groups are given privileges in matters relating to power and control ́ in domestic and public spheres. Since culture is not static but rather dynamic, therefore contemporary writers are now advocating for portrayal that will extol women's virtues, thereby bringing to the fore the indispensable roles women play in society. In order to redeem and recreate an enhanced status for women, studies about women abound in literary studies, with little attention given to issues of women in Adébayó ̀ Fa ̩ ́letí 's poetry. Thus, using the feminist approach ex ́ - amines how women are portrayed in Fálétí's poetry so as to establish his view about the womenfolk.

This is a submission of poetry written while in recovery from military related trauma

Beginning from Marx's understanding of the relationship between philosophy and reality, this Introduction to the special edition of the Yoruba Studies Review explores the inevitable but complex relationship that exists between philosophy and its place. Specifically, it is grounded on the urgency of interrogating Nigeria's postcolonial realities in the light of Yorùbá philosophical insights that, among other things, enable a rethinking of postcolonial social practices especially as sites of identity, agency, knowledge, objectivity, and even of resistance and power. Premised on the fundamental assumption that Yorùbá philosophy constitutes a fundamental site of scholarship within which the task of understanding and reinventing the Nigerian state and societies can be achieved, the Introduction weaves this assumption into the analysis of the fourteen essays that explores Nigeria's postcolonial realities ranging from overpopulation, public (im)morality, ethnic conflict, injustice, and democratic deficit to environmental degradation, disability, depersonalization, youth culture, and a glaring disconnection between educational theory and practice.

This chapter proposes a brief history of kinetic poetry as a transmedia and cross-artistic form. It connects the most relevant threads of a possible historiographic narrative of how kinetic poetry has been evolving since the beginning of the twentieth century at the intersection of literature, visual arts, cinema, animation, and technology, across various media. It argues for a transmedia approach because it does not place kinetic poetry at the heart of computational media and as a digital literature-specific genre, but rather as a temporal form that is media and language-specific, but also culturally and politically situated. Kinetic poetry is a form of poetry that relies on spatiotemporal transitions with expressive literary, visual and aural layers. Throughout the twentieth century, authors composed kinetic poems with varied media, such as motorized sculptures, celluloid film, video, holography, and computers. As it is unveiled, the origins of kinetic art and kinetic poetry can be traced back to the Constructivists' Realisticheskii Manifest and the Dadaists' praxis. When Marcel Duchamp staged puns via rotoreliefs in the 35 mm film Anémic Cinéma (1926), he opened up the way for hybrid works that can be experienced through the lenses of cinema, textual art in motion, and kinetic poetry. Later on, language went from projection to interaction, first with the investigations by the experimental poets in the 1950s-80s and then with the explorations by the digital poets from the 1980s onwards. Therefore, the discussion of kinetic poetry's cultural and technological history goes back to early abstract films, mechanical poetry, film poetry, videopoetry, holopoetry, to finally present algorithmically programmed animation. Because this narrative is heavily Euro- and American-centric, this chapter invites readers to contest the following historiographic version of kinetic poetry's trajectory, and to share knowledge about works created in other latitudes, especially by women and non-white authors.

Nos últimos cinquenta anos, a poesia portuguesa desenvolveu diferentes formas de resistência, reagindo não apenas a circunstâncias políticas, sociais e culturais muito diversificadas, mas também a um processo gradual de desvalorização do seu lugar e do seu papel no mundo contemporâneo. Este estudo pretende determinar e descrever diferentes modelos de resistência na (e da) poesia, tendo por referência algumas das poéticas que mais marcaram o panorama da poesia portuguesa, dos anos 60 até aos nossos dias. Obras de autores tão diferentes entre si como o são as de Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas ou José Miguel Silva têm em comum a atribuição à poesia de uma função de resistência. O que une estes autores? E o que os separa? A resposta a estas questões deverá permitir apurar uma noção de resistência na poesia e também a sua articulação com a noção de resistência da poesia.PALAVRAS-CHAVE: poesia, resistência, modernidade, contemporaneidade ; In the last fifty years Portuguese poetry developed different forms of resistance, reacting not only to political, social and cultural circumstances, but also to a gradual process of devaluation of its place and role in the contemporary world. This study aims at determining and describing different models of resistance in (and of) poetry, by considering some of the poetics that marked Portuguese poetry from the 1960's to our days. Authors as different as Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas or José Miguel Silva bear in common the fact that they invest poetry with a function of resistance. What brings these authors together? What separates them? The answer to these questions may provide an insight into the notion of resistance in poetry as well as its articulation with the notion of the resistance of poetry.KEYWORDS: poetry, resistance, modernity, contemporaneity

This work engages political commentary in the work of Olátúbòsún Oládàpò, a Yorùbá poet. Its focus is on the way that political ideas and values that are rooted in Nigerian culture can inspire development. The study is an exegesis of a poem entitled Emi lo ó máa fàjéè re se? ("What will you do with your own witchcraft?). The reading explores the multilayered paradoxes and metaphors of witchcraft in the poem, concluding that the God-given abilities and capabilities possessed by Nigerians should be the bases for solving their national problems as the nation needs leaders of a vision and mission. The poet maintains that the Nigerian political leaders have a critical role to play in changing the fortune of the nation by leading by example. In addition, the poet opines that the single factor that explains the national economic stagnation is the lack of integrity and public spiritedness among the political leaders, illustrated through his metaphor of witchcraft.

This paper explores a narrative path towards foregrounding what it calls a gender-relative morality as a core dimension of female subordination. It takes a feministapproach to ethics, which stresses specifically the political enterprise of eradicating systems and structures of male domination and female subordination in both the public and the private domains. The theoretical implications of Feminist narrative ethics is then applied to the philosophical imports of Yorùbá proverbs about women as a way to tease out how female subordination is grounded in Yorùbá ontology and ethics. Spe[1]cifically, the essay interrogates the ethical and aesthetical trajectory that leads from ìwà l'ẹwà (character is beauty), a Yoruba moral dictum, to ìwà l'ẹwà obìnrin ([good moral] character is a woman's beauty). Within this transition, there is the possibility that the woman is excluded from the category of those properly referred to as ọmọlúwàbí.

This book's inquiry into contemporary poetry takes two directions. The first direction leads to several close examinations of digital, multi-modal and performative poetry, and how perspectives or perhaps just an awareness of a new media landscape recondition our understanding of an old literary genre. The second direction expands into considerations of contextual theories of affect and atmosphere, to materiality studies and towards the heterogenic field of politics, for example feminism, minority studies, digital and environmental humanities or cosmopolitanism. Hence, the question the articles in this volume pose is whether this match of mediatization and new sensibilities can be seen as a major novel development in the history of poetry. With the title Dialogues on Poetry we wish to signal that the answer to this question can only be pursued through the ongoing process involved in defining, discussing and describing how poetry responds to the substantial changes of our media-saturated circumstances and environments.

Poetry is one of the most vibrant artistic forms for socio-economic and political reconstruction of society among the Tiv of North Central Nigeria. The poets fix themselves in the forefront of arousing and propagating cultural consciousness, exposing vices, extolling virtues and personalities with such attributes, mobilizing people for unity and development, ensuring progressive change, maintaining social order and cohesion, unmasking socio-economic contradictions of class and polity, expressing the unheard voices of the voiceless in society and charting out a direction for the future of society. By reflecting the jeers, fears, aspirations, visions and general character of the society, they occupy a popular place and position in the social structure of Tiv society and their poetry is reinvigorated, in the usual popular way, in the new sensibilities of the digital technology being they dynamic in thematic exploration, traditional or modern. This article presents an exploratory overview of Tiv poetry in its changing digital forms of "secondary orality" which not only preserve the material but transform its productive, aesthetic and performance bounds to unending digital spaces creating in the wake a new character, a special effect, a new transmitting and storage pattern and the commodification of an individual's creations. The paper finally locates digi-orature, this new way of interrogating oral poets and their creations, within the ambience of postmodernity capable of attracting audiences outside the Tiv linguistic and geographical space.

Democracy.--Reaction: Whitman and Taine.--The functional origins of poetry.--Democracy in poetry.--Alma poesis. ; Mode of access: Internet.

The youths of any nation are the bedrock of her development, through viable socio-political and economic contributions. They are the indispensable agents of change that can turn the table round for better, especially in developing nations. The natural psycho-biological development of youths and young adults, living in a nation going through socio-political economic and security challenges, coupled with their being nurtured in some cases through faulty parenting, have manifested in the typology of Nigerian youths. The nation now has a high number of misguided youths who portray demeaning image about Nigeria. This study, hinged on Elkind's (1967) constructionists' perspective of adolescents' cognitive development and womanists' theory as opined by Hudson-Weems (1993) and Kolawole (1997), to the effect that the desire of the agitating African women is complementarity with men in all aspects of life. With these views; exemplified with excerpts from randomly selected Yoruba dramatic, prosaic, and poetic texts, this essay submits that improper parenting, peer group pressure, excessive drive for material wealth, unemployment, poverty, inaccessibility to social and financial aids as experienced by the youths, are some of the reasons why the future appears bleak for Nigeria. The study recommends collective responsibility by parents, to become positive role models for their children by spending undivided and qualitative time with them, thus creating a good and safe environment for their children to be free to express themselves. Corporate organizations and religious bodies should pay back to the society by organizing workshops and low-capital focused entrepreneurial seminars for the youths. Government should as a matter of urgency, put massive employment generation on priority list, ensure a drastic reduction in the years of working experience required before youths' employment and ensure desirable remuneration for employed youths by individual and corporate bodies.

The importance of two elements, the definition of Poetry and Comparative Albanian Literature and the historical role it has with regard to the Human Sciences and the position of theory in this essentially literary and culturally discipline, are the focus of the huge debate across academics. The present essay accords briefly with the first element, providing metaphorical elements of focus rather than a finished portrait of one of the contemporary poets in Albanian literature, Fatmir Terziu; then, it takes up the significant moments of the theoretical debate in Poetry and Comparative Literature between Literary Studies on the one hand and Translation and Cultural Studies on the other. Specifically apparently takes my mind, where I want to officiate more is a kind of phrase that used a comparison, literary figures and in particular metaphor, of speech, expression, grammatical formation, seeing it in detail to Terziu's poems as in Albanian and in English. Subject to which I will refer is the metaphorical process that features the poetry of Fatmir Terziu in the current approach Albanian into English. Through the comparative scholarly research extending from the 1990's to through first decade of the 21st century, I describe the shifts of focus in literary studies that emerged in the 1990s, and which resulted in the creation of a new, more politicised Cultural Studies and new configurations of main vs. subsidiary between Comparative Literature and the disciplines contiguous to it: Translation and Cultural studies. With these realignments, I argue, Comparative Literature has been faced with the challenge to restructure itself and its agenda. In this, I finally maintain, it gives 21st-century lessons to the other Human Sciences on the commensurability of angst, survival, and regeneration.Keywords: essay, comparative literature, Fatmir Terziu, The church of the eyes, Delirium, Advert for the Fatherland, poetry, etc.

The critical lesson was concerned with "oppository dualities ", as it represents a basic theme of poetic discourse as a linguistic system that is in direct contact with the recipient. The critics turned to the analysis of these antitheses, and their views differed on the methodological level and visions in this, so the subject of my study came; To monitor the poetic share of these dualities in Ibn Nabatah's Egyptian poetry , observing the evolutionary stages of the poet's poetic language through its evolutionary stages. Because his youth stage represented the real beginning of the poetic experience; What followed later in the developmental artistic stages were reflected in the characteristics of his poetic language. We have been tempted to research opposing dualities because of the richness of this topic due to the controversy and fervor that exists in defining the poetry of opposing dualities in poetry. It is a thorny concept, because it is related to various knowledge and aspects of human life. Each poet has his own concept and position, which differs a lot, or a little from other poets, towards life, the universe, and human issues . In fact, each poem is different from the other in the same poet. Hence, the concept of the poetics of opposite dualities in poetry remains a relative concept different from different literary and critical premises and perceptions, some of them know it from its semantic, verbal, intellectual, psychological, structural, and so on source . Proceeding from the foregoing, we first tried to define the title of the research accurately. It is well known that each era has its own temporal specificity that is loaded with features that are specific to it and are unique to it through relations: " religious, Social, cultural, political. " Therefore, we chose Ibn Nabatah's Egyptian poetry because it falls under the roof of the Ayyubid state and represents a type of literature in a close period of time and a spatial area of its product, which falls within the limits set for research, as the data ...

The use of incantation (ọfọ̀) is very popular in Yorùbá culture. It is considered to be an essential ingredient in the practice of Yorùbá traditional medicine as its use is believed to have magical powers that can be employed to solve human problems. Grammatically, Yorùbá incantations are transformationally derived sentences. This paper examines the grammatical transformations used in the derivation of Yoruba incantations. It sourced data from three selected Yorùbá incantation books - Àyájọ́ Ìjìnlẹ̀ Ohùn Ifẹ̀ (Fabunmi, 1972), Ìjìnlẹ̀ Ọfọ̀, Ògèdè àti Àásán (Rájí, 1991), and Ewì Àwíṣẹ Atóyèbí (2012) – and employs the Principles and Parameters approach Government- Binding theory to analyse them. Findings show that negation is the most prominent grammatical feature used in the derivation of Yorùbá incantations. The negation marker kì í has the most frequent occurrence while kọ́ rarely occurs in the incantations.

Existing studies claimed that begging activities in South-western Nigeria are encouraged largely by cultural influences and uneven distri ution of the n tion"s resources. They further claim that the cultural activities re tr ce le to the or system which encourages mothers of twins to sing and dance for money. This paper investigates the claims by dr wing insights from the i le, Qur" n, f Literary Corpus, nd relev nt or proverbs. Findings show, among other things, that the claim about cultural influence, nonprovision of free education, and failure of the Nigerian government to break the cycle of poverty as the causes of alms-begging are mere excuses. The practice of polygamy with its attendant indiscriminate procreation among Nigerians is the major cause of alms-begging in the nation. It argues that any suggestion to improve the economy of Nigeria as well as economically empower individuals in the country will be a mirage or an exercise in futility if the problem caused by polygamy and indiscriminate procreation is not addressed.