Vol.4 No.3 ISSN 2518-3966

Total Page:16

File Type:pdf, Size:1020Kb

Vol.4 No.3 ISSN 2518-3966 International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2518-3966 International Journal of Linguistics, Literature and Culture (LLC) 2017 / September Publisher: European Scientific Institute, ESI Reviewed by the “International Journal of Linguistics, Literature and Culture” editorial board 2017 September 2017 edition vol. 4, no. 3 The contents of this journal do not necessarily reflect the opinion or position of the European Scientific Institute. Neither the European Scientific Institute nor any person acting on its behalf is responsible for the use which may be made of the information in this publication. ISSN 2518-3966 International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2410-6577 About The Journal The “International Journal of Linguistics, Literature and Culture” (LLC) is a peer reviewed journal which accepts high quality research articles. It is a quarterly published international journal and is available to all researchers who are interested in publishing their scientific achievements. We welcome submissions focusing on theories, methods and applications in Linguistics, Literature and Culture, both articles and book reviews. All articles must be in English. Authors can publish their articles after a review by our editorial board. Our mission is to provide greater and faster flow of the newest scientific thought. LLC’s role is to be a kind of a bridge between the researchers around the world. “LLC” is opened to any researchers, regardless of their geographical origin, race, nationality, religion or gender as long as they have an adequate scientific paper in the educational sciences field. LLC provides immediate open access to its content on the principle that making research freely available to the public, supports a greater global exchange of knowledge. Sincerely, LLC, Team International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2518-3966 Table Of Contents: Ethnicity and Ethnic Grouping in Jhumpa Lahiri’s Interpreter of Maladies (1999)………………………………….……………......................1 Cristina Chifane Liviu-Augustin Chifane Factors Associated with the Code Mixing and Code Switching of Multilingual Children: An Overview..........................................................13 Fotini Anastassiou Georgia Andreou Technical Terms Generated Upon Meaning of Words Indicating Buildings and Their Components…………….…..………………............27 Gani Pllana Sadete Pllana The Trımetrıc Projectıon of the Celt Queen Boudıca in The Hunger Games Trılogy…..………………….….……………….……......................33 Hacer Gozen Scourge of Militancy in the Niger Delta Region of Nigeria: An Ecocritical Reading of Esiaba Irobi’s Hangmen Also Die and Oyeh Otu’s Shanty Town ………….……………………………………....................................47 Ifediora Okiche Exploring the Language and Style in Ese Ifa in Yorubaland for Contemporary Global Relevance……………….………...........................56 Olu-Osayomi Olusegun International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2410-6577 The Effectiveness of the Different Types of Motivation in Learning a New Language in the Palestinian Context….…………….................................67 Doa'aTahboub Shakespeare, Politics and Renaissance Theatre....………………............75 Tatjana Dumitraskovic An Appreciation of Cultural Hybridity in Sigogo’s Kunjalo…………....86 Sindile Dlodlo Semantic Analysis of Hyponymy in the Short Story “The Voyage”….....95 Sadeili Telaumbanua Edison Sihombing Difficulties in Consonant Sound Pronunciation for the Undergraduate Learners at Aljouf University, Saudi Arabia…..……………….............106 Atalah M Al-Rubaat The Egyptian Revolutions Between Reflection and Prediction………...116 Amal Galal Mohammad Morsy Albanianisation and Anglicisation in Terms of Both Languages for the Terminology of Economy……………..……….…..………………..........139 Sadete Pllana Being and Nothingness: The Reification of Yaşar Kemal’s Memed, My Hawk…………………………….……..……….…..……………….........146 Timucin Bugra Edman International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2518-3966 Lithuanian Word Order and Focus.....……….…..………………..........153 Sumaiyah Turkistani Infidelity as a Predictor of Jealousy in Mexican Couples………………160 Angelica Romero-Palencia Cinthia Cruz-Del Castillo Arturo Del Castillo-Arreola From Silence to Speech: Ice-Candy-Man.....……….……….……..........171 Appala Raju Korada Forming a New Literary Identity: Using Popular, Contemporary Series Books to Engage Adolescent English Language Learners………...........186 Beth Garcia Teri Bingham Christy Reed International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2518-3966 Ethnicity and Ethnic Grouping in Jhumpa Lahiri’s Interpreter of Maladies (1999) Cristina Chifane, PhD Independent Scholar, Romania Liviu-Augustin Chifane, PhD Candidate “Dunarea de Jos” University of Galati, Romania Abstract This article investigates the impact of ethnic affiliation and grouping on Bengali immigrants to USA as reflected by the characters’ development in Jhumpa Lahiri’s short stories collection Interpreter of Maladies (1999). The comparative analysis will primarily tackle the cultural values and practices ensuring the distinctiveness of the ethnic group and the alternative means by which different representatives of the group struggle to cope with their marginal position and their sense of alienation and displacement. The most important question to be answered is if their ethnicity turns into either an insurmountable obstacle in their development or an indestructible bond which makes them stronger and guarantees their survival and triumph. Keywords: Cultural shock, alienation, ambivalence, ethnic bond, in-between identity. Introduction: A key concept in postcolonial studies, ethnicity carries the challenge of a variety of definitions and interpretations. In their attempt to clarify the terminological problem, Ashcroft, Griffiths and Tiffin offer the alternative of a general understanding of the concept specifying that “Ethnicity is a term that has been used increasingly since the 1960s to account for human variation in terms of culture, tradition, language, social patterns and ancestry [...]” (2007, p. 75). On the same wavelength, closely related to the concept of ethnicity is the concept of ethnic group which basically comprises those individuals who share a common identity. Again in general terms, the simplest definition of an ethnic group focuses on the idea of distinctiveness: “A group that is socially distinguished or set apart, by others and/or by itself, primarily on the basis of cultural or national characteristics” (Ashcroft et al. 2007, p. 76). Throughout this article, we will refer to the concept of ethnic group reflected in Jhumpa Lahiri’s short stories included in her 1999 volume Interpreter of Maladies in 1 International Journal of Linguistics, Literature and Culture (LLC) September 2017 edition Vol.4 No.3 ISSN 2410-6577 relationship with the Bengali minority who immigrated to the USA in the aftermath of India’s British colonization. The Ethnic Bond – Building and Breaking Bridges Born in London, England and raised in Rhode Island, America, Jhumpa Lahiri belongs to a family of Bengali Indian immigrants therefore her fictional work reflects the in-between position of ethnic identity, more precisely the condition of the ethnic writer “conscious of a between-worlds position” which “involves an intense re-working of issues such as oppositionality, marginality, boundaries, displacement, alienation and authenticity [...]” (Davis, 2000, p. XVI). In the following pages we shall tackle those short stories in her 2000 Pulitzer prize winning collection which feature characters who are Indian immigrants to America and are confronted with the ethnic ambivalence such an experience entails. For some of the immigrants described in these short stories, the burden is too heavy to carry consequently sooner or later they give up and return to the land they have initially chosen to abandon. As an illustration, Shukumar’s mother in A Temporary Matter, the first short story of the collection, could not face living in America by herself after her husband’s death, so she moved back to Calcutta leaving Shukumar to settle things with their old house. She has chosen to return to her homeland, probably not being able to adjust to the minority Bengali ethnic group in America or the larger majority American group claiming her and asking her to change in order to be integrated. When Shoba and Shukumar dine together at the light of the candles the first time after the pain of Shoba’s miscarriage, Shukumar cooks a typical Kashmiri dish called rogan josh (Lahiri, 1999, p. 11). Similarly, Shoba and Shukumar’s use of their common ethnic background in their attempt to rebuild their broken relationship could not be a mere coincidence: “ ‘It’s like India,’ Shoba said, watching him tend his makeshift candelabra. ‘Sometimes the current disappears for hours at a stretch. I once had to attend an entire rice ceremony in the dark. The baby just cried and cried. It must have been so hot’ ” (Lahiri, 1999, p. 12). The Indian ritual of feeding the child its first solid meal by one of the mother’s brothers is one of the things Shoba in A Temporary Matter had dreamt of for her future child and this is the reason why her disappointment is now beyond words: “Their baby would never
Recommended publications
  • Islamic Art from the Collection, Oct. 23, 2020 - Dec
    It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492).
    [Show full text]
  • “We Are Nigeria”
    “WE ARE NIGERIA” CHAPTER ONE ‘Who can tell me what happened on the 1st of October 1960?’ asked our class teacher. None of the students wanted to answer the question. Our teacher looked around the class and we hid our faces because we knew what she was going to do next. ‘Jay’ She said, and he almost jumped out of his chair. ‘Please answer the question.’ She always picked a student randomly to answer questions when no one volunteered. ‘It was the day Nigeria defeated the Queen of England’ Jay got up to answer the question. His voice was a shaky whisper. Jay was always nervous when he had to answer questions in class. ‘Yes Didi’ our teacher said and the class turned to look at me as I stood up to answer the question. ‘Class, did you hear him?’ our teacher asked. ‘No ma’ the class chorused. Their mocking voices ‘Before the 1st of October 1960, Nigeria was ruled by made Jay more nervous. Great Britain. The Queen of England, Queen Elizabeth the second was the Head of Government of ‘It was the day Nigeria defeated the Queen of Nigeria. Before independence, the money we spent England’ Jay repeated louder and the class erupted in Nigeria was pounds and shillings; the British people in laughter. taught us their language and that is why English language is the primary language in Nigeria.’ ‘Students, please be quiet’ she scolded and the class went quiet. I was enjoying all the attention as the class listened to me attentively. ‘Good effort Jay’ she said but we knew she was only trying to encourage him.
    [Show full text]
  • Adire Cloth: Yoruba Art Textile
    IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities.
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
    [Show full text]
  • The Complete Costume Dictionary
    The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward.
    [Show full text]
  • West African Textiles
    WEST AFRICAN TEXTILES BARROW HALL GALLERY March 4—April 3 9 a.m.—5 p.m. WEST AFRICAN TEXTILES Exhibit curated by José Blanco and Jennifer Regan with assistance from Dr. Patricia Hunt-Hurst, Raúl Vázquez -López, and students from TXMI 4580: World Textiles (Jessica Baker, Allie Bashuk, Lauren Fylstra, Sara Idacavage, Rachel Jack, Ashley Scruggs, Kim Stober, Danielle Walsh). Unknown maker Light teal and brown two piece female outfit, Burkina Faso Cotton, synthetic embroidery On loan from Dr. Karim Traore This female outfit represents the colorful and flamboyant prints of modern African fashion which contrast the hand woven designs of traditional African dress. It is interesting to note that the modern print of the ensemble is not a traditional African design and resembles the art deco style of the early twentieth century. The pattern is created by a wax-printing process that has been copied by the Europeans. Interestingly, English wax-printed fabrics have become prestigious items in Nigeria costing more than the local outputs of the region. The fabric is inscribed with the words “Guaranteed English Wax” therefore verifying the quality of the print. The second interesting feature of this ensemble is the colorfully embroidered collar around the neckline of the caftan that appears to be industrially made. The decorative elements of the ensemble indicate that it is probably intended for special occasions. Unknown maker Teal Kampala fabric with white and orange print, Nigeria Cotton brocade On loan from Dr. Akinloye Ojo This piece is similar to Kampala textiles created in Uganda. The material is likely a damask weave created with a synthetic fiber.
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V3_930 3/5/04 3:57 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V3_930 3/5/04 3:57 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 3: European Culture from the Renaissance to the Modern3 Era SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
    [Show full text]
  • New African Fashion
    NEW AFRICAN FASHION NAF_180411.indb 1 10.08.11 14:05 2 HELEN JENNINGS NEW AFRICAN FASHION NAF_180411.indb 2 10.08.11 14:05 Introduction PRESTEL Munich • London • New York 3 NAF_180411.indb 3 10.08.11 14:05 CONTENTS NAF_180411.indb 4 10.08.11 14:05 FOREWORD by Iké Udé 6 FACES 172 Kinée Diouf Super Model 174 INTRODUCTION 8 Alek Wek Model Citizen 178 Under cover Agents Candice Swanepoel, Behati Prinsloo and Heidi Verster 182 Armando Cabral Sole Man 184 FASHION 18 Flaviana Matata Class Act 188 Duro Olowu Prints Charming 20 Nana Keita Bamako Beauty 190 Xuly Bët Recycling Pioneer 26 The Harlem Boys Ger Duany, Salieu Jalloh Mimi Plange Afro-disiac 30 and Sy Allasane 192 Casely-Hayford Two of a Kind 32 Faces of Africa Oluchi Onweagba, FAFA Destination Nairobi 38 Kate Tachie-Menson and Lukundo Nalungwe 196 Gloria Wavamunno Loud Speaker 42 David Agbodji Man About Town 200 Amine Bendriouich Medina Maverick 44 Georgie Baddiel Ouagadougou Girl 202 Maki Oh The Thinker 46 Ty Ogunkoya Bright Eyes 206 Eric Raisina Spiritual Explorer 52 Ataui Deng & Ajak Deng Fabulous Two 208 Omer Asim & Maya Antoun Great Minds 56 Ozwald Boateng Bespoke Couturier 58 Mataano Sisters in Style 64 ART 212 Lanre Da Silva Ajayi Silver Siren 68 Karl-Edwin Guerre Fine Dandy 214 Black Coffee Bastion of Bauhaus 70 Hassan Hajjaj Arabian Knight 220 Momo Renaissance Woman 76 Chris Saunders Happy Snapper 226 Bunmi Koko Power Couple 80 Nkwo Bird of Paradise 82 Stiaan Louw (Un)traditionalist 84 Loin Cloth & Ashes Daydreamer 90 GLOSSARY Tsemaye Binitie Glamazon 94 Tiffany Amber Cruise Controller 96 & FURTHER READING 234 Buki Akib Quintessential Nigerian 102 Bridget Awosika City Slicker 106 INDEX 236 Accessories Alex Folzi, Kwame Brako, Anita Quansah, Albertus Swanepoel, Free Peoples Rebellion 108 CONTACTS 238 David Tlale Hot Ticket 114 Ré Bahia Mummy’s Girl 118 PICTURES CREDITS 239 Jewel by Lisa Star Bright 120 Emeka Alams Slave to the Rhythm 126 Suzaan Heyns Fashion’s Frankenstein 130 Deola Sagoe Queen Bee 132 A.
    [Show full text]
  • Fashion and Textiles Ebook
    Africa Imports Textiles and Fashion All You Need to Know I TABLE OF CONTENTS AFRICAN TEXTILES AND FABRICS 2 WHAT IS MUDCLOTH? 3 WHAT DOES THIS MUDCLOTH DESIGN MEAN? 6 NIGERIAN ASOKE FABRIC AND ITS UNIQUE HISTORY 8 THE DASHIKI: A SYMBOL OF AFRICA 10 WHAT IS GEORGE FABRIC? 12 WAX PRINT FABRICS 14 KENTE CLOTH 16 THE AFRICAN KAFTAN 18 Kaftans in Weddings 19 Kaftans in Funerals 19 AN OVERVIEW ON VARIOUS AFRICAN FABRICS 20 Four Types of Textiles 20 Interesting Cloth Facts 21 AFRICAN JEWELRY 22 AFRICAN FASHION JEWELRY AND ITS MEANING 23 MASSAI BEADWORK 25 What the Colors Mean 26 TUAREG SILVER AND BLACK HISTORY 27 WHAT IS MUDCLOTH? Mudcloth is a traditional African fabric that was first made in Mali, West Africa. It’s typically characterized by white geometric designs on a black, brown, mustard, red or green background (although other colors are sometimes found). Although Mudcloth is relatively new to the US, having only been commonly seen here since the 1990’s, Mudcloth in Africa dates as far back as the 12th century AD. Mudcloth actually does contain mud due to the process used to make it, which involves among other things using fermented mud as well as a liquid that is concocted from the leaves of native trees. Mud cloth is often soaked in this liquid several times before the cloth is actually fin- ished. The term Mudcloth is actually a direct translation of an African word – bogolanfini. Traditional Mudcloth is made in the old-fashioned man- ner of weaving cotton into strips on looms and then binding these strips together.
    [Show full text]
  • Consumers' Acceptability and Creative Use of Local Fabrics As Graduation Gown for Primary School Pupils Amubode Adetoun Adedot
    Review of Arts and Humanities December 2015, Vol. 4, No. 2, pp. 81-89 ISSN: 2334-2927 (Print), 2334-2935 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/rah.v4n2a9 URL: http://dx.doi.org/10.15640/rah.v4n2a9 Consumers’ Acceptability and Creative Use of Local Fabrics as Graduation Gown for Primary School Pupils Amubode Adetoun Adedotun1, Adebowale Kehinde Kabirat2 & Awosika Bridget Itunu3 Abstract The study was conducted to assess the acceptability of local fabrics (resist dye and traditional woven fabrics) as graduation gown for primary school pupils and their teachers among the Heads of schools in Abeokuta South Local Government Area of Ogun State, Nigeria. One hundred and sixty nine respondents were selected from both private and public heads of schools in the area using Simple Random Sampling Technique. Questionnaires were designed on four point Likert Scale to obtain relevant information from the respondents. Result showed favorable response of Likert Mean Score 3.30 which indicates greater acceptability of the fabrics used in the construction of academic gown for primary school pupils and teachers. Majority of the respondents have favorable acceptance of the local fabrics as graduation gown for primary school pupils and their teachers emphasizing that its utilization will go a long way in creating employment for youth and promote cultural heritage. Keywords: Traditional, resist fabric, woven fabrics, graduation gown, acceptability Background of the Study Dyeing textiles with indigenous dye is a popular traditional craft among many Nigerians; including Hausa, and Nupe in the northern Nigeria, as well as the Tiv in the middle belt region and the Yoruba in the western Nigeria.
    [Show full text]
  • Copyright by Anima Adjepong 2017
    Copyright by Anima Adjepong 2017 The Dissertation Committee for Anima Adjepong Certifies that this is the approved version of the following dissertation: Afropolitan Projects: Creating Community, Identity, and Belonging Committee: Ben Carrington, Supervisor Oloruntoyin Falola Gloria Gonzalez-Lopez Jemima Pierre Nestor Rodríguez Afropolitan Projects: Creating Community, Identity, and Belonging by Anima Adjepong, A.B.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 Dedication To HOLAAfrica! for throwing me a lifeline when I most needed one; and to the Ghanaian Community in Houston, without whom this project would not have been possible. Afropolitan Projects: Creating Community, Identity, and Belonging Anima Adjepong, Ph.D. The University of Texas at Austin, 2017 Supervisor: Ben Carrington Abstract: Despite a dramatic growth in the numbers of African immigrants to the United States, until recently, this population has been marginal in studies about voluntary migration and race. Likewise, in mainstream scholarship about black identities, Africa appears as a site of imagination and struggle whilst contemporary Africans are frozen in an unchanging, parochial age. My dissertation addresses the marginalization of Africa and Africans in both race and migration studies through an ethnographic case study of a community of Ghanaians in Houston, Texas. The research considers how questions of religion, race, class, and sexual politics shape the community’s boundaries of belonging. I explore how answers to these questions inform members’ relationship with Ghana, Africa, Houston, and the United States more generally.
    [Show full text]
  • Department of Management, Economics & Industrial Engineering
    Depart ment of Management, Economics & Industrial Engineering Rethinking Sustainability in the Fashion Industry through Indigenous Culture (Sustainability in Textile & Fashion Supply Chain Management) Supervisor: Prof. Alessandro Brun Master Thesis Of: Tariq Tayaba 893147 Ojukwu Onyinye Assumpta 903363 1 Accademic Year 2019/2020 Table of Contents List Of Figures………………………………………………………………………………………………………………………………4 List of Tables………………………………………………………………………………………………………………………………..6 Aknowledgement…………………………………………………………………………………………………………………………7 Abstract……………………………………………………………………………………………………………………………………….8 1. INTRODUCTION………………………………………………………………………………………………..9 2. LITERATURE REVIEW………………………………………………………………………………………..14 2.1 The concept of Fashion……………………………………………………………………………………………..15 2.1.1 Fashion & Culture…………………………………………………………………………………………16 2.1.2 Evolution from fashion to fast fashion………………………………………………………….17 3. THE CONCEPT OF SUSTAINBILITY ……………………………………………………………………..21 3.1 Sustainable Fashion ………………………………………………………………………………………………….23 3.1.1 Environment…………………………………………………………………………………………………24 3.1.2 Social…………………………………………………………………………………………………………….25 3.1.3 Cultural…………………………………………………………………………………………………………26 3.1.4 Economic………………………………………………………………………………………………………27 3.1.5 Corporate Social Responsibilty………………………………………………………………………28 3.2 Sustainable Fashion Throughout the Supply Chain…………………………………………………….29 3.2.1 Soucring………………………………………………………………………………………………………..32 3.2.2 Producing………………………………………………………………………………………………………33 3.2.3 Customer……………………………………………………………………………………………………….35
    [Show full text]