No description available.

This thesis discusses four selected topics on Yoruba nominal expressions: the syntax of possessives, the construal of bare nouns, the marking of specificity and salience, and plural marking strategies. Regarding possessives, it is proposed that they have one base structure (a v P shell). The difference in surface linear order between verbal and nominal genitives is determined by which of the two arguments move. In nominal genitives, the possessum moves. In verbal genitives, it is the possessor that moves. Regarding the interpretation of Yoruba bare nouns, it is shown that they can be construed in one of three ways: as generics, as indefinites, or as definites. First, generics may be lexically conditioned (with permanent state predicates) or grammatically conditioned (with transitory predicates through the use of imperfective maa-n). Second, wherever a generic construal is illicit, an indefinite construal is licit. Third, definite construals are discourse-linked. Regarding specificity, it is shown that Yoruba overtly marks specificity on NPs with the element kan. Regarding salience, it is shown that definite DPs are morphologically marked as salient (by virtue of being unique, in an identity relation or additive) through the use of ndd. Finally, regarding plural marking, it is shown that Yoruba uses three different strategies: contextually, semantically, or morphologically determined plurality. It is proposed that the deployment of the PLURAL feature is determined by feature percolation or feature matching. / Arts, Faculty of / Linguistics, Department of / Graduate

This thesis investigates the socio-linguistic factors that led to the emergence of a new language in Cuba known as Anagó. This language emerged from contact between multiple dialects of the West African Yoruba language and Spanish. Language contact between the Yoruba language and Spanish took place in Cuba beginning in the nineteenth century after the introduction of large numbers of Yoruba speakers into Cuba during the trans-Atlantic slave trade. This thesis argues against the opinion that Anagó is simply a corrupted and imperfect form of Yoruba. Instead, it maintains that Anagó is a new language that emerged in Cuba and became a functional vehicle for the transmission of ideas and culture. Additionally, this study will present evidence that the Anagó speaking community was a constituent part of Cuban society since the nineteenth century, and is therefore an inextricable part of Cuban cultural patrimony. Twentieth century examples of Anagó language are examined as evidence of a vital Anagó speaking transnational community.

African art and spirituality are inseparable. Looking at it specifically from the visible, concrete, or tangible standpoint, the latter is nonexistent without the former, as the presence of the former validates the reality of the latter. The origin of this symbiotic relationship is in the Africans' ideology, in which they find it more convenient to establish communication with the transcendent or supernatural realm through visible devices that we label 'art'. Using the Ijumu Northeastern-Yoruba Egungun as a case study, this dissertation analyzes the place of art in African spirituality. Applying two conceptual frameworks--connective theory and linguistic approach, the dissertation first depicts this art as a reflection of African culture. Secondly, it reveals African art as essentially an assemblage or composite of diverse culturally defined and meaningful materials. Finally, it portrays art as a reliable form of historical and iconographical record of the African culture.In all, the dissertation comprises eight chapters. Chapter one introduces the reader to the research rationales, objectives, theory and methodology, and relevant previous studies. Chapter two concerns the place of art in Yoruba religious beliefs and practices within the larger context of African art and culture. Chapter three illustrates the inter-group relations in the Niger-Benue confluence region--the geographical location of the Ijumu Northeastern-Yoruba. Chapter four provides an overview of the cultural practices of the Ijumu people of the Ookun Yoruba-speaking groups. Chapter five focuses on the spirituality and performance contexts and the devotees' conceptualization of the Egungun as a religion.Chapter six is about iconographical interpretations of Egungun. Chapter seven illustrates the aesthetic implications with attention paid to the masquerade costumes as well as the performance contexts of the masquerades or masqueraders, drummers, singers, and more importantly, the aftermath of the ritual festival. Chapter eight is about critical perspectives on Ijumu-Yoruba Egungun within the larger context of the tradition among the entire Yoruba peoples. It highlights critical issues affecting the Egungun tradition today and the relevance of this dissertation to arresting their loss.

Thesis (D. Min.)--Columbia Biblical Seminary and Graduate School of Missions, Columbia, S.C., May 1995. / Abstract. Includes bibliographical references (leaves 138-143).

Thesis--University of Durham. / Bibliography: p. [415]-420.

Thesis (M.A.)--University of Maryland, 2006. / Includes bibliographical references (p. 119-125).

M.Tech. Drama and Film Studies. / The aim of this thesis is to explore the concept of Africanisation in the context of the Yoruba culture of the South West of Nigeria. It seeks to study the nature and form of life among the Yoruba people through the lens of selected plays by playwright and novelist Wole Soyinka, focusing on the motivations for the culture that is observed among the Yoruba speaking people. This study seeks to answer two major questions using the qualitative research method. These questions are: What cultural hallmarks and identities of the Yoruba people are represented in the selected plays of Wole Soyinka, which are Death and the Kings Horseman, The Strong Breed and The Lion and the Jewel and how are these represented? And, what is Africanisation and how has Africa responded to it? In order to achieve the above aims, the thesis is written in two parts. The first part focuses on Africanisation and African Renaissance, while the second part focuses on the analysis of the culture of the Yoruba people as presented by Wole Soyinka in the selected plays. As a philosophy, Africanisation entails, but is not limited to, the art of producing and appraising a knowledge system based on African cultures for the benefit of Africa and the world at large. According to Makhanya, Africanisation is acknowledging and introducing knowledge systems that are rooted in and relevant to Africa next to other knowledge systems in the quest to discover, explain and produce knowledge (cited in Ratshikuni, 2010:1). The selected plays analysed are culturally rich Yoruba plays. Some of the ethos of the Yoruba people, including communal life, music and drumming, naming, sacrifice, and death, among others, as represented by the playwright are expounded upon and documented. vi The methodology employed to obtain data for this study is the qualitative research method. This entails content analysis of the plays with a view to studying the cultural content in the plays. In conclusion, the thesis argues that Yoruba culture has sufficient value that can be of great benefit to the unity and progress of Africa and the world at large. But first, Africa and Africans must embrace their cultural values, expose them to the world and allow some culture of the world to blend with it so as to create a greater, meaningful and global impact.

This study examined beliefs in supernatural causation of both Igbo and Yoruba ethnic groups in Nigeria. The study focuses on the beliefs that treatment of any patient involves exorcism of the invading spirit. A significant number of members of the two ethnic groups believe in the active presence of the spirit world, ancestral spirits, gods, and in reincarnation. Consequently, any illness or misfortune is often attributed to the wrath of the gods or neglect of the spirit world. Content analysis of data gathered through participant observation was the primary means used in the analysis of this study. Subjects were Igbo and Yoruba natives of three age groups. These groups included traditional age, transitional age, and modern age generations. This research found that both Igbo and Yoruba ethnic groups tend to turn to beliefs in supernatural causation during serious illnesses, accidents and deaths. However, as individuals move from traditional age to modern age, they tend to believe less in supernatural causation in Igbo and Yoruba communities, despite the introduction of modern medicine. Specific reasons for the persistence of beliefs in supernatural causation in Igbo and Yoruba communities, despite the introduction of modern medicine, is a topic for further research.

No description available.