The African man is not complete without his culture because it is in his culture he can be identified. This explains the generally admitted position that culture gives a people a unique identity. I will appreciate if you read, review and rate this work. Thanks for your interest.
In line with Jean Jacques Rousseau, sovereignty is reposed on the masses and not a few political elite or the Leviathan. It is, in his opinion, the will of the generality of masses that inhabit a state that should determine how laws are made to checkmate arbitrary behaviours of the "bad ones" in a state. However, the 1999 constitution of Nigeria does not tally with Rousseau's principle as it was made by undemocratic few (the military men) without adequate consultations. It is in line with the above that we say that the 1999 constitution of the Federal Republic of Nigeria is an aberration of the General Will.
The growth of modern technology and the sophistication of society over a period of time became a big challenge for traditional media of communication.
CONCLUSION The similarities and differences between “The Duchess of Malfi” and “The Rovers” can never be overemphasize. Restoration comedy and Jacobean Revenge tragedy deeply applies Thomas Hobbes and Niccolo Machiavellian’s principle. Restoration comedy celebrates this principle while Jacobean revenge tragedy discourages the principle by pointing out its negative effect.
Meaning and features of Jacobean Revenge Tragedy and Restoration Comedy, comparison and the contrast of The Duchess of Malfi by John Webster and Aphra Behn’s The Rover as a Jacobean Revenge Tragedy and Restoration Comedy respectively.
Studies on Esiaba Irobi's Nwokedi and Cemetery Road have largely focused on the portrayal of politicians in modern societies. The studies have however neglected how linguistic metaphors have been utilised in realising ideologies. This is the gap the present study is set to fill using extracts from Nwokedi and Cemetery Road, which were analysed using insights from George Lakoff and Mark Johnson’s Conceptual Metaphor Theory and Teun Van Dijk's Theory of Ideology. The texts were subjected to quantitative analysis through the use of tables, frequency counts, and histograms. Five conceptual mappings: POLITICS IS A CONFLICT, POLITICS IS A SMALL CHILD, CHANGE IS A DIFFICULT PATH, POLITICS IS A BUILDING, and POLITICS IS A BODY, were observed from the linguistic metaphors, and their linguistic patterns, (lexical, morphological, and syntactical patterns), which project three ideologies: liberalism, progressivism, and radicalism. POLITICS IS A CONFLICT, and POLITICS IS A SMALL CHILD conceptual mappings are associated with liberalism, CHANGE IS A DIFFICULT PATH is associated with progressivism, while POLITICS IS A BUILDING, and POLITICS IS A BODY relate to radicalism. Thus, cross-domain mappings in Nwokedi and Cemetery Road, deployed through linguistic metaphors are motivated by the playwright’s ideological representation of Nwokedi and Mazeli as liberal, progressive, and radical ideologists.