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TABLE OF CONTENTS
Contents
Abstract
CHAPTER ONE: Introduction
1.0 Introduction
1.1 Geographical
Background
1.2 Historical
Background
1.3 The Ado-Ekiti
Town
1.4 Agriculture
and Economy
1.5 Statement of
Problem
1.6 Aim and
Objectives of the Study
1.7 Methodology of
the Study
1.8 Scope and
Delimitation
1.9 Justification
of the Study
1.10 Literature
Review
1.11 Theoretical
Framework
1.12 Work Cited
Chapter Two
Nature of Ado-Ekiti Praise Poetry
2.0 Introduction
2.1 The Venue for
Praise Poetry
2.2. How Praise
poetry is Performed
2.3. Composers and
Performers of Praise poetry
2.4. Audience
Performer Relationship
Works Cited
Chapter Three
The Scope and Thematic Dimensions
3.0 Introduction
Categorization
of Ado-Ekiti Praise poetry
3.1 Praise poetry
for Supernatural forces
3.2 Praise poetry
for kings and Princes
3.3 Praise poetry
for Socialite
3.4 Praise poetry
for Animate and Inanimate
3.5 Praise poetry
for Individual
Work Cited
Chapter Four
Literariness of Ado-Ekiti Praise Poetry
4.0 Introduction
4.1 Form and Style
4.2 Language as
aesthetics in Ado-Ekiti praise poetry
4.3 Functions of
Ado-Ekiti Praise poetry
4.4 Attitude of
the people towards Ado-Ekiti Praise poetry
4.5 Significance
of Ado-Ekiti Praise poetry
Work Cited
Chapter Five
Conclusion
5.0 Conclusion
References
Appendix
ABSTRACT
Until now, the oral
art of Ado-Ekiti people in Ekiti State has not received considerable academic
attention. The present research work is borne of the strong need to explore a
specific art form - the traditional praise poetry among Ado-Ekiti people. The work
focuses on the richness and fascinating relations between aesthetic form and
content in the traditional praise poetry of Ado-Ekiti people. This enables us
to appreciate the aesthetics and intellectual patterning of the art, along with
its functional values in society. This thesis therefore discusses the status of
Yoruba aesthetics in traditional Ado-Ekiti from a holistic perspective, with
emphasis on how culture has impacted positively on their well-being, although
there are benefits derived from their status in society. While caution must be
exercised in the quest for the foreign culture so that African cultural values
can be retained, and thus not destroyed under the guise of civilization. It is
in light of this, that research deployed the functionalist criticism in doing
justice to praise poetry.
CHAPTER ONE
1.0 INTRODUCTION
One of the most striking features of colonial
administrations in Africa is their failure to understand the culture of the
people they were privileged to govern. According to Nwosu
(1980:4), “the utter failure of most of the bureaucrats
concerned to grasp the realities of life of the various people they were
privileged to govern”. They had confused notions about what constituted African
aesthetics and failed to realize that the literature of Africa does not begin
with the written. As a matter of fact, oral tradition has been in existence in
African society since the beginning of the continent. However, despite all the
processes that colonization took to erase African oral tradition, the form and
the aesthetics is still cherished among the people. Lindfors (2002:7-9)
confirms the prevalence of oral tradition in the works of African literary
writers such as Chinua Achebe, Wole Soyinka and D. O. Fagunwa which they drew
from the rich experience they acquired in their various cultures. Oral
tradition emanates from the people and is communicated among the people in oral
form. Oral tradition in Africa is best described as the literature of the
various traditional African societies. Oral tradition has also added sample of
documentary from African historians particularly for scholars from the
pre-colonial era. Jackson (1977:5) opine that Africans have relied on these
traditions to give shape to the past
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