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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Efer Obasuyi Osa-Francis;

    1.IntroductionWhat has come to us today to be known as the profession/discipline of industrial design began with the "spark" that was triggered off by the monotony of form and aesthetics of mass produced goods during the industrial revolution of the 1860s. The very foundation of craft and craftsmanship which was the bedrock and springboard from which innovation, and the start of the Age of inventions got its roots, gradually gave way to a revolution of the manufacturing of goods and products being "churned out" of the Assembly line, like "lifeless" and cold "effigys" of what the machine age, became known for. The original role and place of craft and craftsmanship, and artistic traditions of the applied Arts, coupled with the role of custom- made, hand-crafted goods (which were the hallmark of masterpieces of the craft and time honored tradition of the Middle Ages,) were quickly swallowed up by the Assembly line serial production methods of mass produced goods for the mass market. The era of consumerism and mass production began as a result. (Archer, 1974). The contextualism of the Applied Arts as a component and compulsory ingredient in its original role and place in craft and, artistic traditions, has helped to highlight the very Nature and context for which the old traditional craft/craftsmen of the Middle Ages became known for. That generation represented the "Classical Age' of custom-made products that became "Masterpieces" in their own right. This was the singular context for the setting up of the New Movement of Industrial Designers who sought to emplace those ideals at the birth of this New Profession in the late 1800s. (Lucie-Smith, 2001).So saw the birth of a New profession called industrial Design between 1800 - 1866 (to be precise). Where a group of arts and craft practitioners came together to form what became known as the Arts and Craft movement Spearheaded by the British artist/architect - William Morris. His works and activity in graphic Design, textile design and architecture were so prolific that his printing press (the kelmscott Press) became synonymous with the arts and craft movement. These and the achievement of others like him became the spring board for the take off of the new profession. The issue of its contextualism (as it relates to the Applied Arts and Design) would seem to mean, those collection of views principles, theories or philosophy of Design /Applied Arts that seems to emphasize the context in which the actions, principles or purposes of design is understood relative to such defined context (Beyer et al, 1998). In architecture for example, according to Jencks (2002) who proposed that contextualism represents that theory of design wherein modern/contemporary Architectural designs (buildings, structures or even products) are harmonized with contemporary design ideals, principles and forms, characteristic/peculiar to modern ways of Todays living and lifestyles.2.Contextual relevance of Industrial design as a ProfessionNoblet, (1993) emphasises that the meaning and context of industrial design as a profession dwells on the exploration and study, form and function of the intended design initiative with a focus on the meaning and connection between the product, the consumer and the environment in which the product is to function or intended to be used. He continued by saying that industrial design is that professional service aimed at creating and developing ideas and concepts tailored to specification of products that optimizes the function, value (quality, aesthetics and beauty) i.e. the appearance and look of the product in a context that accedes to the mutual benefit and satisfaction of both the consumer and society on the one hand, and the manufacturer and economic benefit/ (put within the context) of the development of society on the other.There could be a more precise way to look at design from the contextual point of view of pragmatism and realism which according to Coelho (2011) who says that "Design could be considered to be that process of taking something (an object, devise or a system) from its "existing state" (the intended object of Design needing a new birth, renewal, recreation or reintroduction) and moving it to a "preferred state". …

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Review of Artistic E...arrow_drop_down
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    Review of Artistic Education
    Article
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    Review of Artistic Education
    Article . 2017 . Peer-reviewed
    License: CC BY NC ND
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ-Articles
    Article . 2017
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Review of Artistic E...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Review of Artistic Education
      Article
      License: CC BY NC ND
      Data sources: UnpayWall
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      Review of Artistic Education
      Article . 2017 . Peer-reviewed
      License: CC BY NC ND
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ-Articles
      Article . 2017
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sale Maikanti; Yap Ngee Thai; Jurgen Martin Burkhardt; Yong Mei Fung; +2 Authors

    The mid short vowels: /e/ and /o/ are among the vowels shared between Hausa and Yorùbá but differ in Hausa mid-high long, front and back vowels: /e:/ and /o:/. The phonemic differences in the two languages have caused learning difficulties among the Yorùbá native speakers to achieve their second language learning desire and competence. Yorùbá-Hausa learners mispronounce certain disyllabic Hausa words due to the substitution of vowels in the first and second syllables. Thus, both lexical and grammatical meanings of the Hausa words are affected. This study examined the production of the 12 Hausa vowels by level 1 and level 3 students who were learning Hausa as a second language to determine if there was a significant difference in how level 1 and level 3 students pronounced the short and long mid-high, front and back Hausa vowels. 88 Yorùbá native speakers were recruited using purposive sampling. Twenty-four different wordlists extracted from Bargery's (1934) Hausa-English dictionary and prepared in carrier phrases were audio-recorded. It was a mixed-method, and the results were discussed within the theoretical framework of Flege and Bohn's (2020) Revised Speech Learning Model and Corder's (1967) 'Error Analysis Model'. The results of the Mann-Whitney U test revealed that participants in level 1 generally performed lower than level 3 participants in the pronunciation of mid-Hausa vowels due to substitutions. Such errors have pedagogical implication in learning Hausa as a second language, and if not addressed accordingly, the standard of Hausa will continue to fall at an undesirable and alarming rate.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REiLA Journal of Res...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2021
    Data sources: DOAJ
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ-Articles
    Article . 2021
    Data sources: DOAJ-Articles
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    REiLA Journal of Research and Innovation in Language
    Article . 2021 . Peer-reviewed
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REiLA Journal of Res...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      DOAJ
      Article . 2021
      Data sources: DOAJ
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ-Articles
      Article . 2021
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      REiLA Journal of Research and Innovation in Language
      Article . 2021 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ronke Eunice Adesoye;

    Various studies exist on the social functions of humour and such studies have been carried out in diverse fields that range from the humanities to the sciences. In linguistics specifically, research shows that humour has been studied from the perspectives of syntax, pragmatics and semantics; moreover, there is a dearth of studies on the creation of humour through phonological processes. Therefore, this study aims to investigate humour and how it is achieved using phonological processes. The study engages mainly qualitative methods of analysis. Five comedy skits were purposively selected from Folarin Falana’s (Falz the Bahd Guy) eleven collections. These were chosen on the basis of their internet popularity among Nigerians; this popularity was determined on the basis of the rates of downloading the skits. McGraw & Warren’s (2010) Benign Violation Theory was used to account for the phonological violations in the comedies. The various phonological processes that were violated include liaison, deletion, insertion, monophthongisation, coalescence and vowel strengthening. It is argued that the phonological distortions are deliberately made to achieve humour in these Nigerian comedies, especially when the high educational level of the artist is considered. Also, there anti-Anglicism and pro-Nigerianism in the data as the artist identifies himself with Nigeria(ns) and creates a niche for himself in the entertainment industry using the phonological peculiarities among Nigerians’ language use, especially the Yoruba tribe. He also creates different personalities to project different messages which are not only peculiar to Nigeria but to the world, using these personalities to portray people’s feelings and views of the world and how these influence their attitudes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJ-Articlesarrow_drop_down
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    DOAJ-Articles
    Article . 2018
    Data sources: DOAJ-Articles
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    The European Journal of Humour Research
    Article . 2018 . Peer-reviewed
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    The European Journal of Humour Research
    Article
    License: CC BY NC ND
    Data sources: UnpayWall
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2018
    Data sources: DOAJ
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJ-Articlesarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ-Articles
      Article . 2018
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      The European Journal of Humour Research
      Article . 2018 . Peer-reviewed
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      The European Journal of Humour Research
      Article
      License: CC BY NC ND
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 2018
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Bosede Funke Afolayan;

    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. KEYWORDS: COURT-POET, PRAISE SINGER, TRADITIONAL AFRICAN POETRY, WOLE SOYINKA, OLA ROTIMI

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    Afrika Focus
    Article
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    Afrika Focus
    Article . 2019 . Peer-reviewed
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ-Articles
    Article . 2019
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Afrika Focus
    Article
    License: CC BY SA
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Afrika Focus
    Article . 2019 . Peer-reviewed
    License: CC BY NC
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Afrika Focusarrow_drop_down
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      Afrika Focus
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      Afrika Focus
      Article . 2019 . Peer-reviewed
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      Article . 2019
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      Afrika Focus
      Article
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      Afrika Focus
      Article . 2019 . Peer-reviewed
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    Authors: Ibukun Filani;

    Studies on humour have acknowledged that responses to jokes are important aspects of a joking exchange; however, investigation of joke recipients’ responses has received little attention from humour scholars. Moreover, the linguistic investigations of jokes have been limited to native speakers’ contexts, leaving ESL contexts out. Therefore, this study examines readers’ responses to a genre of jokes in Nigerian online spheres, Akpos jokes, with a view to characterising their forms and functions. Akpos jokes are humorous narratives created around an imaginary character called Akpos. Jokes are randomly collected from a blog and readers’ responses were derived from a Facebook page in which Akpos jokes are published. Using computer paralanguage and language mixing in writing the jokes and the responses, the jokes and the reactions to them mirror the online and the Nigerian ESL contexts in which they are situated. Readers use their responses to indicate affiliation, disaffiliation with the joke, or to introduce something that has nothing to do with the subject of the joke or humour. Readers also use their responses to argue for and/or against the humorousness the jokes.

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    The European Journal of Humour Research
    Article . 2017 . Peer-reviewed
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    DOAJ
    Article . 2017
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    Article . 2017
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    The European Journal of Humour Research
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    Article . 2017
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    Article . 2017
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      The European Journal of Humour Research
      Article . 2017 . Peer-reviewed
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      The European Journal of Humour Research
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    Authors: Akin Tella;

    Internet memes significantly constitute an outlet for extensive popular political participation in election contexts. They instantiate humour and represent political candidates so as to affect voters’ behaviour. Few studies on memes in political context exist (Shifman et al. 2007; Chen 2013; Tay 2014; Adegoju & Oyebode 2015; Huttington 2016; Dzanic & Berberovic 2017). These studies have not intensively examined the integrative deployment of visual and verbal resources afforded by internet memes to generate humour and to construct specific frames for election candidates in the campaign context of an emerging democracy. Therefore, this study investigates the use of language and visuals for humour generation and for the creation of definite frames for the two major presidential candidates in internet memes created in the course of the 2015 Nigerian presidential election campaigns. The theoretical insights for the study are derived from Attardo’s (1997) set-up-incongruity-resolution theory of humour, Kuypers’ (1997, 2002, 2009, 2010) model of rhetorical framing analysis, Bauman & Briggs’ (1990) concept of entextualisation, Kress & van Leeuwen’s (1996) socio-semiotic model for visual analysis and Sperber & Wilson’s (1986) relevance theory. The analysis indicates that meme producers generate humour and frame candidates through the entextualisation of verbal and visual texts, explicatures and implicatures. The memes construct seven individuated frames and one collective frame for the two major presidential candidates in the sampled memes using visual and linguistic resources. It concludes on the note that supporters of election candidates use humorous internet memes for negative portraying opponents and the positive representation of the favoured candidate. These negative other-representations serve the purpose of depreciating the electoral values of the opponents and indirectly increasing the electoral chances of their own candidates.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The European Journal...arrow_drop_down
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    The European Journal of Humour Research
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    The European Journal of Humour Research
    Article . 2018 . Peer-reviewed
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    DOAJ-Articles
    Article . 2018
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    DOAJ
    Article . 2018
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      The European Journal of Humour Research
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      The European Journal of Humour Research
      Article . 2018 . Peer-reviewed
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      Article . 2018
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      Article . 2018
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    Authors: Sarah Whatley;

    This paper introduces the online toolkit created during the AHRC-funded Resilience and Inclusion: Dancers as Agents of Change project. Although the primary aim of the toolkit is the transmission of information for training purposes, the toolkit has simultaneously created a carefully curated repository of performance documents and related materials with a film at the core out of which many of the learning materials emerge. The discussion considers how this curated library of valuable performance documents creates an "accidental archive." Notwithstanding the challenges of making materials "open," often connected to institutional gatekeeping, this short paper poses questions about the documenting of process (in various forms and formats) to ask what value these process documents hold, for the artist and audience, and for those who are responsible for their safe keeping.

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    Proceedings from the Document Academy
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    Article . 2018
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    DOAJ
    Article . 2018
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    Proceedings from the Document Academy
    Article . 2018 . Peer-reviewed
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      Proceedings from the Document Academy
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      Article . 2018
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      Article . 2018
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      Proceedings from the Document Academy
      Article . 2018 . Peer-reviewed
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    Authors: Felix Abidemi Fabunmi;

    Ije?s?a is a dialect of Yoruba in which there are three aspect markings-progressive, habitual, and perfective-and one tense marking-future. Tense/aspect marking in the Ije?s?a dialect differs from that found in Standard Yoruba.

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    DOAJ
    Article . 2001
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    Article . 2001
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    Studies in African Linguistics
    Article . 2001 . Peer-reviewed
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      Studies in African Linguistics
      Article . 2001 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Hounkpati B. Capo;

    A current debate going on among Yoruba linguists is the existence and phonological status of the high non-expanded vowels. Indeed while Igala, Isekiri and many Yoruba dialects exhibit a seven-vowel system, other Yoruba dialects exhibit a ·nine-vowel system (including i and o), both types showing however interesting vowel co-occurrence restrictions. Given this situation, some scholars argue that proto-Yoruba and proto-Yorubold had a nine-vowel system with cross-height vowel harmony, while others claim that they had a seven-vowel system. The present paper reviews both positions and suggests another alternative; in particular it shows how cross-height vowel harmony came about in Yoruboid.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Studies in African L...arrow_drop_down
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    Studies in African Linguistics
    Article . 1985 . Peer-reviewed
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    DOAJ-Articles
    Article . 1985
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 1985
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Studies in African L...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Studies in African Linguistics
      Article . 1985 . Peer-reviewed
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ-Articles
      Article . 1985
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 1985
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Felix Bayode Oke; Ezekiel Opeyemi Olajimbiti;

    This paper extends the frontier of research in the marketisation of higher education institution by investigating the pragmatics of promotional features and discourse strategies in the postgraduate school prospectus. The data for the study is the University of Ibadan postgraduate school prospectus (2015 edition) downloaded from the university website (http://www.postgraduateschool.ui.edu.ng). Insights were drawn from Bhatia’s genre analysis, an aspect of Hallidayian’s Systemic Functional Linguistics, for the analysis. The theory accounts for promotional features, linguistic features and discourse strategies in the discourse. Four promotional features: offer, commodification, incentives and clients were marked off by modality, epistemic and deontic linguistic features while strategies of self-promotion, implication, promotional tact and evocation to considerateness are tactfully employed to project the superiority ideology to the prospective students. The study concludes that the academia is no longer solely informative but promotionally oriented.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
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    DOAJ
    Article . 2021
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    Crossroads A Journal of English Studies
    Article
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    DOAJ-Articles
    Article . 2021
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    Crossroads A Journal of English Studies
    Article . 2021 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
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      DOAJ
      Article . 2021
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      Crossroads A Journal of English Studies
      Article
      License: CC BY ND SA
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      DOAJ-Articles
      Article . 2021
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      Crossroads A Journal of English Studies
      Article . 2021 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Efer Obasuyi Osa-Francis;

    1.IntroductionWhat has come to us today to be known as the profession/discipline of industrial design began with the "spark" that was triggered off by the monotony of form and aesthetics of mass produced goods during the industrial revolution of the 1860s. The very foundation of craft and craftsmanship which was the bedrock and springboard from which innovation, and the start of the Age of inventions got its roots, gradually gave way to a revolution of the manufacturing of goods and products being "churned out" of the Assembly line, like "lifeless" and cold "effigys" of what the machine age, became known for. The original role and place of craft and craftsmanship, and artistic traditions of the applied Arts, coupled with the role of custom- made, hand-crafted goods (which were the hallmark of masterpieces of the craft and time honored tradition of the Middle Ages,) were quickly swallowed up by the Assembly line serial production methods of mass produced goods for the mass market. The era of consumerism and mass production began as a result. (Archer, 1974). The contextualism of the Applied Arts as a component and compulsory ingredient in its original role and place in craft and, artistic traditions, has helped to highlight the very Nature and context for which the old traditional craft/craftsmen of the Middle Ages became known for. That generation represented the "Classical Age' of custom-made products that became "Masterpieces" in their own right. This was the singular context for the setting up of the New Movement of Industrial Designers who sought to emplace those ideals at the birth of this New Profession in the late 1800s. (Lucie-Smith, 2001).So saw the birth of a New profession called industrial Design between 1800 - 1866 (to be precise). Where a group of arts and craft practitioners came together to form what became known as the Arts and Craft movement Spearheaded by the British artist/architect - William Morris. His works and activity in graphic Design, textile design and architecture were so prolific that his printing press (the kelmscott Press) became synonymous with the arts and craft movement. These and the achievement of others like him became the spring board for the take off of the new profession. The issue of its contextualism (as it relates to the Applied Arts and Design) would seem to mean, those collection of views principles, theories or philosophy of Design /Applied Arts that seems to emphasize the context in which the actions, principles or purposes of design is understood relative to such defined context (Beyer et al, 1998). In architecture for example, according to Jencks (2002) who proposed that contextualism represents that theory of design wherein modern/contemporary Architectural designs (buildings, structures or even products) are harmonized with contemporary design ideals, principles and forms, characteristic/peculiar to modern ways of Todays living and lifestyles.2.Contextual relevance of Industrial design as a ProfessionNoblet, (1993) emphasises that the meaning and context of industrial design as a profession dwells on the exploration and study, form and function of the intended design initiative with a focus on the meaning and connection between the product, the consumer and the environment in which the product is to function or intended to be used. He continued by saying that industrial design is that professional service aimed at creating and developing ideas and concepts tailored to specification of products that optimizes the function, value (quality, aesthetics and beauty) i.e. the appearance and look of the product in a context that accedes to the mutual benefit and satisfaction of both the consumer and society on the one hand, and the manufacturer and economic benefit/ (put within the context) of the development of society on the other.There could be a more precise way to look at design from the contextual point of view of pragmatism and realism which according to Coelho (2011) who says that "Design could be considered to be that process of taking something (an object, devise or a system) from its "existing state" (the intended object of Design needing a new birth, renewal, recreation or reintroduction) and moving it to a "preferred state". …

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Review of Artistic E...arrow_drop_down
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    Review of Artistic Education
    Article
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    Review of Artistic Education
    Article . 2017 . Peer-reviewed
    License: CC BY NC ND
    Data sources: Crossref
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    DOAJ-Articles
    Article . 2017
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Review of Artistic E...arrow_drop_down
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      Review of Artistic Education
      Article
      License: CC BY NC ND
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      Review of Artistic Education
      Article . 2017 . Peer-reviewed
      License: CC BY NC ND
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      DOAJ-Articles
      Article . 2017
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sale Maikanti; Yap Ngee Thai; Jurgen Martin Burkhardt; Yong Mei Fung; +2 Authors

    The mid short vowels: /e/ and /o/ are among the vowels shared between Hausa and Yorùbá but differ in Hausa mid-high long, front and back vowels: /e:/ and /o:/. The phonemic differences in the two languages have caused learning difficulties among the Yorùbá native speakers to achieve their second language learning desire and competence. Yorùbá-Hausa learners mispronounce certain disyllabic Hausa words due to the substitution of vowels in the first and second syllables. Thus, both lexical and grammatical meanings of the Hausa words are affected. This study examined the production of the 12 Hausa vowels by level 1 and level 3 students who were learning Hausa as a second language to determine if there was a significant difference in how level 1 and level 3 students pronounced the short and long mid-high, front and back Hausa vowels. 88 Yorùbá native speakers were recruited using purposive sampling. Twenty-four different wordlists extracted from Bargery's (1934) Hausa-English dictionary and prepared in carrier phrases were audio-recorded. It was a mixed-method, and the results were discussed within the theoretical framework of Flege and Bohn's (2020) Revised Speech Learning Model and Corder's (1967) 'Error Analysis Model'. The results of the Mann-Whitney U test revealed that participants in level 1 generally performed lower than level 3 participants in the pronunciation of mid-Hausa vowels due to substitutions. Such errors have pedagogical implication in learning Hausa as a second language, and if not addressed accordingly, the standard of Hausa will continue to fall at an undesirable and alarming rate.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REiLA Journal of Res...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2021
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ-Articles
    Article . 2021
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    REiLA Journal of Research and Innovation in Language
    Article . 2021 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REiLA Journal of Res...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      DOAJ
      Article . 2021
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ-Articles
      Article . 2021
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      REiLA Journal of Research and Innovation in Language
      Article . 2021 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ronke Eunice Adesoye;

    Various studies exist on the social functions of humour and such studies have been carried out in diverse fields that range from the humanities to the sciences. In linguistics specifically, research shows that humour has been studied from the perspectives of syntax, pragmatics and semantics; moreover, there is a dearth of studies on the creation of humour through phonological processes. Therefore, this study aims to investigate humour and how it is achieved using phonological processes. The study engages mainly qualitative methods of analysis. Five comedy skits were purposively selected from Folarin Falana’s (Falz the Bahd Guy) eleven collections. These were chosen on the basis of their internet popularity among Nigerians; this popularity was determined on the basis of the rates of downloading the skits. McGraw & Warren’s (2010) Benign Violation Theory was used to account for the phonological violations in the comedies. The various phonological processes that were violated include liaison, deletion, insertion, monophthongisation, coalescence and vowel strengthening. It is argued that the phonological distortions are deliberately made to achieve humour in these Nigerian comedies, especially when the high educational level of the artist is considered. Also, there anti-Anglicism and pro-Nigerianism in the data as the artist identifies himself with Nigeria(ns) and creates a niche for himself in the entertainment industry using the phonological peculiarities among Nigerians’ language use, especially the Yoruba tribe. He also creates different personalities to project different messages which are not only peculiar to Nigeria but to the world, using these personalities to portray people’s feelings and views of the world and how these influence their attitudes.

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    DOAJ-Articles
    Article . 2018
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    The European Journal of Humour Research
    Article . 2018 . Peer-reviewed
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    The European Journal of Humour Research
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    Article . 2018
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      The European Journal of Humour Research
      Article . 2018 . Peer-reviewed
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      The European Journal of Humour Research
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    Authors: Bosede Funke Afolayan;

    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. KEYWORDS: COURT-POET, PRAISE SINGER, TRADITIONAL AFRICAN POETRY, WOLE SOYINKA, OLA ROTIMI

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    Afrika Focus
    Article . 2019 . Peer-reviewed
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    Article . 2019
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      Article . 2019
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    Authors: Ibukun Filani;

    Studies on humour have acknowledged that responses to jokes are important aspects of a joking exchange; however, investigation of joke recipients’ responses has received little attention from humour scholars. Moreover, the linguistic investigations of jokes have been limited to native speakers’ contexts, leaving ESL contexts out. Therefore, this study examines readers’ responses to a genre of jokes in Nigerian online spheres, Akpos jokes, with a view to characterising their forms and functions. Akpos jokes are humorous narratives created around an imaginary character called Akpos. Jokes are randomly collected from a blog and readers’ responses were derived from a Facebook page in which Akpos jokes are published. Using computer paralanguage and language mixing in writing the jokes and the responses, the jokes and the reactions to them mirror the online and the Nigerian ESL contexts in which they are situated. Readers use their responses to indicate affiliation, disaffiliation with the joke, or to introduce something that has nothing to do with the subject of the joke or humour. Readers also use their responses to argue for and/or against the humorousness the jokes.

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    The European Journal of Humour Research
    Article . 2017 . Peer-reviewed
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    Article . 2017
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    Article . 2017
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    The European Journal of Humour Research
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    Authors: Akin Tella;

    Internet memes significantly constitute an outlet for extensive popular political participation in election contexts. They instantiate humour and represent political candidates so as to affect voters’ behaviour. Few studies on memes in political context exist (Shifman et al. 2007; Chen 2013; Tay 2014; Adegoju & Oyebode 2015; Huttington 2016; Dzanic & Berberovic 2017). These studies have not intensively examined the integrative deployment of visual and verbal resources afforded by internet memes to generate humour and to construct specific frames for election candidates in the campaign context of an emerging democracy. Therefore, this study investigates the use of language and visuals for humour generation and for the creation of definite frames for the two major presidential candidates in internet memes created in the course of the 2015 Nigerian presidential election campaigns. The theoretical insights for the study are derived from Attardo’s (1997) set-up-incongruity-resolution theory of humour, Kuypers’ (1997, 2002, 2009, 2010) model of rhetorical framing analysis, Bauman & Briggs’ (1990) concept of entextualisation, Kress & van Leeuwen’s (1996) socio-semiotic model for visual analysis and Sperber & Wilson’s (1986) relevance theory. The analysis indicates that meme producers generate humour and frame candidates through the entextualisation of verbal and visual texts, explicatures and implicatures. The memes construct seven individuated frames and one collective frame for the two major presidential candidates in the sampled memes using visual and linguistic resources. It concludes on the note that supporters of election candidates use humorous internet memes for negative portraying opponents and the positive representation of the favoured candidate. These negative other-representations serve the purpose of depreciating the electoral values of the opponents and indirectly increasing the electoral chances of their own candidates.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The European Journal...arrow_drop_down
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    The European Journal of Humour Research
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    The European Journal of Humour Research
    Article . 2018 . Peer-reviewed
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      The European Journal of Humour Research
      Article . 2018 . Peer-reviewed
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      Article . 2018
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      DOAJ
      Article . 2018
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    Authors: Sarah Whatley;

    This paper introduces the online toolkit created during the AHRC-funded Resilience and Inclusion: Dancers as Agents of Change project. Although the primary aim of the toolkit is the transmission of information for training purposes, the toolkit has simultaneously created a carefully curated repository of performance documents and related materials with a film at the core out of which many of the learning materials emerge. The discussion considers how this curated library of valuable performance documents creates an "accidental archive." Notwithstanding the challenges of making materials "open," often connected to institutional gatekeeping, this short paper poses questions about the documenting of process (in various forms and formats) to ask what value these process documents hold, for the artist and audience, and for those who are responsible for their safe keeping.

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    Proceedings from the Document Academy
    Article
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    Article . 2018
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    DOAJ
    Article . 2018
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    Proceedings from the Document Academy
    Article . 2018 . Peer-reviewed
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      Proceedings from the Document Academy
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      Article . 2018
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      Article . 2018
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      Proceedings from the Document Academy
      Article . 2018 . Peer-reviewed
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    Authors: Felix Abidemi Fabunmi;

    Ije?s?a is a dialect of Yoruba in which there are three aspect markings-progressive, habitual, and perfective-and one tense marking-future. Tense/aspect marking in the Ije?s?a dialect differs from that found in Standard Yoruba.

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    DOAJ
    Article . 2001
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    DOAJ-Articles
    Article . 2001
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    Studies in African Linguistics
    Article . 2001 . Peer-reviewed
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      DOAJ
      Article . 2001
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      Article . 2001
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      Studies in African Linguistics
      Article . 2001 . Peer-reviewed
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    Authors: Hounkpati B. Capo;

    A current debate going on among Yoruba linguists is the existence and phonological status of the high non-expanded vowels. Indeed while Igala, Isekiri and many Yoruba dialects exhibit a seven-vowel system, other Yoruba dialects exhibit a ·nine-vowel system (including i and o), both types showing however interesting vowel co-occurrence restrictions. Given this situation, some scholars argue that proto-Yoruba and proto-Yorubold had a nine-vowel system with cross-height vowel harmony, while others claim that they had a seven-vowel system. The present paper reviews both positions and suggests another alternative; in particular it shows how cross-height vowel harmony came about in Yoruboid.

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    Studies in African Linguistics
    Article . 1985 . Peer-reviewed
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    DOAJ-Articles
    Article . 1985
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    DOAJ
    Article . 1985
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      Studies in African Linguistics
      Article . 1985 . Peer-reviewed
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      Article . 1985
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      DOAJ
      Article . 1985
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    Authors: Felix Bayode Oke; Ezekiel Opeyemi Olajimbiti;

    This paper extends the frontier of research in the marketisation of higher education institution by investigating the pragmatics of promotional features and discourse strategies in the postgraduate school prospectus. The data for the study is the University of Ibadan postgraduate school prospectus (2015 edition) downloaded from the university website (http://www.postgraduateschool.ui.edu.ng). Insights were drawn from Bhatia’s genre analysis, an aspect of Hallidayian’s Systemic Functional Linguistics, for the analysis. The theory accounts for promotional features, linguistic features and discourse strategies in the discourse. Four promotional features: offer, commodification, incentives and clients were marked off by modality, epistemic and deontic linguistic features while strategies of self-promotion, implication, promotional tact and evocation to considerateness are tactfully employed to project the superiority ideology to the prospective students. The study concludes that the academia is no longer solely informative but promotionally oriented.

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    DOAJ
    Article . 2021
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    Crossroads A Journal of English Studies
    Article
    License: CC BY ND SA
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    Article . 2021
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    Crossroads A Journal of English Studies
    Article . 2021 . Peer-reviewed
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      Crossroads A Journal of English Studies
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      License: CC BY ND SA
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      Article . 2021
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      Crossroads A Journal of English Studies
      Article . 2021 . Peer-reviewed
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