By J O Midiwo; J M Clough; Royal Society of Chemistry (Great Britain)
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Nana Asma'u Bint Usman 'dan Fodio, a nineteenth-century Muslim student, lived within the quarter referred to now as northern Nigeria and was once an eyewitness to battles of the biggest of the West-African jihads of the period. The guidance and behavior of the jihad give you the issues for Nana Asma'u's poetry. Her paintings additionally comprises treatises on background, legislation, mysticism, theology, and politics, and was once seriously inspired by means of the Arabic poetic culture.
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This assortment is devoted to a extraordinary student and author who for 1 / 4 of a century wrote continuously on African literature and the humanities and was once an important voice in Nigerian literary circles. Ezenwa-Ohaeto made a mark in modern Nigerian poetry via committing pidgin to written shape and, through so doing, introducing diversified inventive styles.
Via analysing historic and classical Arabic literature, together with the Qur'an, from in the Arabic literary culture, this ebook presents an unique interpretation of poetics, and of alternative very important points of Arab tradition. historical Arabic literature is a realm of poetry; prose literary kinds emerged really past due, or even then remained within the shadow of poetic inventive efforts.
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Their identities have never been fixed, however. The shifting boundary between kin and stranger, native and foreign, us and them, invites critical reflection on the aspirations toward civility and cosmopolitanism in the present-day city’s aspirations to remedy a long history of exclusion while still policing economic and political borders. 8 • i m a g i n i n g t h e e d gy c i t y Civil, Cosmopolitan, and Other Terms of Urban Hospitality Upstart cities in the North as well as the South have challenged the norms of modernity and civility in the North by demonstrating the constitutive character of tensions between civil and uncivil modernity in urban life.
2006; Alexander 2010). The urban improvement projects sponsored by the JDA over the last decade have shaped urban space in different ways, from the quotidian—enhancing parks and government and community surveillance, and cultivating “desire lines,” or informal pedestrian pathways (Shepherd and Murray 2007)—to the spectacular landmark institutions such as Constitution Hill. Nonetheless, overall planning has been hampered by organized resistance (such as the taxi companies’ aggressive acts against Bus Rapid Transit structures and employees), as well as apparently disorganized but persistent practices of irregular and dangerous occupation of inner-city property as well as the illegal networks that enable this irregularity.
Urbanists since Lewis Mumford, who saw the city circa 1936 as “the scene of social drama” (1996 , 185), routinely use the language of theatre, from tragedy to playfulness, but do not ground their metaphors in performance and its contexts. The persistence of performance in urbanist discourse highlights not only the contribution of embodied practices to the life and meaning of the city, but also the tension between order and disruption, between the modern civility of the urban planners and the uncivil modernity of the edgy city.