Vol. 17 No. 1 (2023)

Articles

• RADICALISM AND VIOLENCE AS IMPERATIVES FOR SOCIAL CHANGE: A CRITICAL ANALYSIS OF HANGMEN ALSO DIE AS A METAPHOR FOR NIGERIA’S SITUATION

  Kester Nnaemeka Dibia

  1-21

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• MOTIFS AS SEMIOTIC COMMUNICATION IN CALABAR CARNIVAL COSTUME DESIGNS

  Francisca A. Nwadigwe, Ph.D.

  43-64

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• STAGING POLITICS AS A MOTIF FOR CULTURAL ACTION: A DIRECTORIAL ARGUMENT FOR NWABUEZE’S THE DRAGON’S FUNERAL

  Kelechi Stellamaris Ogbonna, Ph.D

  82-98

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• BETWEEN DIDACTICISM AND PRAISE-SINGING: FOLKLORISTIC DIMENSIONS IN NELLY UCHENDU AND IKEM MAZELI’S ORAL PERFORMANCES

  Ebuka E. Ilukwe, Ph.D.

  22-42

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• MILITANCY AND WAR VIOLENCE IN SELECT FILMS: A COMPARATIVE ANALYSIS

  Chibuike Abunike, PhD, Tracie Utoh-Ezeajugh, PhD

  99-118

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• FILM AND MARITAL CRISES RESOLUTION: AN EVALUATION OF MARRIED BUT LIVING SINGLE

  Solomon C Egbe

  136-157

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• NATURE-NURTURE DICHOTOMY IN A SELECTED NOLLYWOOD FILM

  Gospel Chibuisi John, Nkemakonam Aniukwu PhD

  158-180

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• THE STRUCTURAL CONCEPT OF CONSTRUCTIVISM IN MODERN THEATRE: STUDY OF THE PHYSICIST BY FREDRICK DURRENMATT

  Obianuju Nwosu

  181-195

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• THE EGHUGHU FESTIVAL OF ADUHANHAN PEOPLE OF EDO STATE AS A PARADIGM IN PERFORMANCE STUDIES

  ERO, Kingsley Osaretin, Ph.D

  65-81

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• POLICY CHALLENGES AND THE DEVELOPMENT OF THE PERFORMING ARTS: A CRITICAL EVALUATION OF NIGERIA’S CULTURAL POLICY AND THE COPYRIGHT LAW

  Emmanuel Iroh, Ph.D, Prisca Okeke

  119-135

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