Papers by Kehinde Hossienat Ogunlade
Signature tunes are memorable musical phrases associated with a particular artist, presenter or i... more Signature tunes are memorable musical phrases associated with a particular artist, presenter or individual as his/her unique style. While signature tunes are identified as a result of deviation in the language and approach of the artists to his performance, there tends to be conformity in the language of the artists judging from how the similarity occurs in signature tunes of some oral artistes. The reason why this occurs, how it manifests and where it occurs constitute our quest in this study. This study, therefore, investigated the conformity in deviation of signature tunes in order to establish language interactionism from certain point in linguistic reservoirs. Data for this study are sourced from Yoruba chants of: Ijala-ode, ẹ ṣ-egengen, Ṣngn-ṕpp, ẹen-nỵwn, nyẹ rẹ-fa, plp-oro, and subjected to Roman Jacobson's approach to structuralism and principle of Transformational Generative Grammar. Findings revealed that signature tunes are actually maṛers of identity of artists which is commensurate with style as deviation in stylistics. Furthermore, conformity in the language of artists which suggests the interpolation or interactionism at the linguistic reservoir is inevitable across the variety of genres, therefore, signature tunes that are not supposed to conform to one artist/woṛ is now conforming. This indicates that though oral artists are unique in their respective renditions of signature tunes but there are places where uniqueness matches one another and it proves that signature tunes are both created and learnt. The study concluded that though signature tunes earnmaṛ deviation, the interactionism of genres in the linguistic lexicon causes conformity in the signature tunes of genres that are not of the same variant. The study recommended that signature tunes which project individualism rather than collectivism, be adopted as another critical paradigm for indigenous criticism of Yoruba oratures for it indicates language dexterity of the chanters. Conformity in presentation of idea and approach rather than only unit is recommended as well for objective indigenous criticism of Yoruba oral performance.
Repetition is that one features that almost every Yorùbá literary make use of. This work examine ... more Repetition is that one features that almost every Yorùbá literary make use of. This work examine how literally work make use of repetition to denote meaning, types of repetition, how the occur and their impact in one work of art.
Idiosyncrasy denotes a peculiar or unusual characteristic or mannerism that is unique to an indiv... more Idiosyncrasy denotes a peculiar or unusual characteristic or mannerism that is unique to an individual or a group. Diverse works from a sociological and cultural point of view have been conducted on Kèlání's films but they have not been seen from the stylistic point of view. This study examines style and idiosyncratic ability in Túndé Kèlání's movies viewing them as idiosyncratic uniqueness. We critically explore three of Túndé Kèlání's movies, Dazzling Mirage, White Handkerchief and The Narrow Path, which constitute our source of data for this paper. The selected films are subjected to tenets from Wilson and Sperber's (1986) Relevance Theory. It was understood from the study that, cultural renaissance and globalisation of Yorùbá culture, mass awareness and conservationism vs progressivism are the cogent styles that distinguish this director from other film makers. He hardly embarks on movies without the traits of public awareness and sensitisation as central focal points. This study recommends juxtaposition of more of Kèlání's traits and styles with other African film writers so as to ensure that society as well as individual are sensitised better while being entertained by the movies. It is also established in this study that style goes beyond examining the phono-aesthetic or photo-aesthetic tropes.
Music is a very important features of the African society, it is more than sounds, it encompass c... more Music is a very important features of the African society, it is more than sounds, it encompass culture, traditions, emotions and all aspects of the African society. The Yorùbá society enjoys music and this shows or have impact on almost everything among the Yorùbá people, they also have different genres of music n which one of them is "Àpàlà" music. This work examine how Àpàlà music which is a traditional music now transmit to Gospel which is use to praise God and how it still make use of literary devices.
This work talks about usage of proverbs as tittle of books or chapters in literary works. Proverb... more This work talks about usage of proverbs as tittle of books or chapters in literary works. Proverb is a very essential element in the Yorùbá society because it depict the society and it is also for a lot of things. This work examine how Authors adopt the usage of proverbs in a metaphorically ways as the title of of their literary work, example of this is 'Àjà ló lẹrù' by Ọládẹ̀jọ Òkédìjí, Kárìn kápọ̀ by Ọládẹ̀jọ Òkédìjí,etc.
Yoruba society, the model is. therefore, relevant to this study. The model is a sociological theo... more Yoruba society, the model is. therefore, relevant to this study. The model is a sociological theory which focuses on the sociological aspects of language description. TITLE OF CHAPTERS 4.1. Oladejo OkedijI, for instance, employs proverbs as titles in eight out of ten chapters in his bookJ/a Lo Lerii: Chapter Two -Eye n yi lueye Chapter Three -Adyd gbon Ogungbe gbon Chapter Four -Ebi Id n daamu Oloruntddwd Chapter Six -Iditrb kd si, ibere kd si Chapter Seven -Alejo tdfdruwdlu Chapter Eight -Ere ori igi Chapter Nine -Asekit omo edun Chapter Ten -Aja Id lerit Oladejo Okediji employs proverbs as titles in three out of nine chapters in his book Agbalagba Akatr. Chapter Four -Kini kan lb baAjab je Chapter Seven -Qgbon inu lejd h Id Chapter Eight -Aba niikdn h da. In Oladejo Okediji's Kd rin kd pd, a proverb is used as title in only one chapter. Chapter fourteen -Kd rin 4.2 In Kola Akinlade'sJ/a To N Lepa Ekiin. proverbs are used as titles of two chapters only: Chapter Five -Aja to n lepa Ekitn Chapter Eight -Omode nise agba nise.
Yoruba society, the model is. therefore, relevant to this study. The model is a sociological theo... more Yoruba society, the model is. therefore, relevant to this study. The model is a sociological theory which focuses on the sociological aspects of language description. TITLE OF CHAPTERS 4.1. Oladejo OkedijI, for instance, employs proverbs as titles in eight out of ten chapters in his bookJ/a Lo Lerii: Chapter Two -Eye n yi lueye Chapter Three -Adyd gbon Ogungbe gbon Chapter Four -Ebi Id n daamu Oloruntddwd Chapter Six -Iditrb kd si, ibere kd si Chapter Seven -Alejo tdfdruwdlu Chapter Eight -Ere ori igi Chapter Nine -Asekit omo edun Chapter Ten -Aja Id lerit Oladejo Okediji employs proverbs as titles in three out of nine chapters in his book Agbalagba Akatr. Chapter Four -Kini kan lb baAjab je Chapter Seven -Qgbon inu lejd h Id Chapter Eight -Aba niikdn h da. In Oladejo Okediji's Kd rin kd pd, a proverb is used as title in only one chapter. Chapter fourteen -Kd rin 4.2 In Kola Akinlade'sJ/a To N Lepa Ekiin. proverbs are used as titles of two chapters only: Chapter Five -Aja to n lepa Ekitn Chapter Eight -Omode nise agba nise.
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Papers by Kehinde Hossienat Ogunlade