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Total Quality Management in Higher Education
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Afropolitan Horizons
Introduction. Nigerian Connections -- Palm Wine, Amos Tutuola, and a Literary Gatekeeper -- Bahia-Lagos-Ouidah: Mariana's Story -- Igbo Life, Past and Present: Three Views -- Inland, Upriver with the Empire: Borrioboola-Gha -- The City, according to Ekwensi . . . and Onuzo -- Points of Cultural Geography: Ibadan . . . Enugu, Onitsha, Nsukka -- Been-To: Dreams, Disappointments, Departures, and Returns -- Dateline Lagos: Reporting on Nigeria to the World -- Death in Lagos -- Tai Solarin: On Colonial Power, Schools, Work Ethic, Religion, and the Press -- Wole Soyinka, Leo Frobenius, and the Ori Olokun -- A Voice from the Purdah: Baba of Karo -- Bauchi: The Academic and the Imam -- Railtown Writers -- Nigeria at War -- America Observed: With Nigerian Eyes -- Transatlantic Shuttle -- Sojourners from Black Britain -- Oyotunji Village, South Carolina: Reverse Afropolitanism.
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Omenuko
Omenụkọ (real name: Igwegbe Odum) whose home in Okigwe, Eastern Nigeria, was a popular spot for field trips by students in schools and colleges, as well as a favourite attraction for tourists in the decades before and after the Nigerian Independence in 1960. Generations of Igbo children began their reading in Igbo with Omenụkọ, and those who did not have the opportunity to go to school still read Omenụkọ in their homes or at adult education centers. Omenụkọ was a legendary figure and his 'sayings' became part of the Igbo speech repertoire that young adults were expected to acquire. Omenụkọ, a classic in Igbo Literature, written by Pita Nwana and published in 1933 by Longman, Green & Co, Ltd, London, is in this translation made accessible to a global audience. Emenyonu utilizes his mastery of both languages (Igbo and English) to faithfully present to his audience a complete rendition of Omenụkọ as originally written. The timeless significance of this novel as a progenitor of the Igbo language novel is again underscored.
The Literary History of the Igbo Novel
This book looks at the trends in the development of the Igbo novel from its antecedents in oral performance, through the emergence of the first published novel, Omenuko, in 1933 by Pita Nwana, to the contemporary Igbo novel. Defining "Igbo literature" as literature in Igbo language, and "Igbo novel" as a novel written in Igbo language, the author argues that oral and written literature in African indigenous languages hold an important foundational position in the history of African literature. Focusing on the contributions of Igbo writers to the development of African literature in African languages, the book examines the evolution, themes, and distinctive features of the Igbo novel, the historical circumstances of the rise of the African novel in the pre-colonial, era and their impact on the contemporary Igbo novel. This book will be of interest to scholars of African literature, literary history, and Igbo studies.
Postcolonial Modernism
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.
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