Suchergebnisse

Abstract The function of a literary artist is consequent upon the society he finds himself. He/she uses his/her own ingenuity and creative ability to highlight a fact or issue which the other members of the society may or may not have noticed or give meaningful attention to. He/she does this in such a way that his/her protest or propaganda attracts his/her people's attention, especially towards changes. As a teacher and redeemer in his/her political role, he/she may not repeat an earlier call on known challenging issue(s), if such are already receiving due attention. However, if the challenge(s) persists unabated, the literary artist may device another method to re-echo and highlight such challenges. Societal situations as implied above, is the basic source of textual creativity for literary artists. These texts come handy for auteurs1, as sources for visual dramatic purpose, which among several other things (of which entertainment is basic), is re-enactment by giving life to the propaganda or protest of an author concerning a (burning) issue earlier raised, but to which meaningful attention is yet to be accorded. To avoid unwarranted repetitions and unnecessary embellishments, auteurs attempt to reconstruct plays, prose or poems, by re-adjusting, interpreting, borrowing, intersecting, transpositioning, transforming or juxtaposing issues in/from them, in their visual arts. Rere Run (Havoc is wrecked,) a textual Yoruba protest play, has been adapted severally by dramatists for stage and screen. The Lion of Imogun, a recent adaptation of Rere Run for television, which portrays the female gender as beings by whom the male ascertain their physical, political, financial and social prowess, is the concern of this paper. The paper concludes that despite the fact the Lamson Yesuf the auteur of the soup opera under study tried to give the adaptation contemporaneous, he did not portray the females related lights of present times, though he made them more relevant numerically, if compared with what obtains in the text.

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.