Tag Archives: dreams

Pragmatic Analysis of Chibok Girls. GBAMLOG.COM

Literature is so significant that it can perform a lot of functions. One of such functions definitely has to be the affective function. Literature can be affective when it aims to produce certain effects on the reader. Having established this fact, it is ideal to state that this essay aims to display the affective power of literature by conducting a pragmatic analysis of the text Chibok Girls.

The text in question has its characters and setting drawn from real life; hence, it can be described as a realistic one. It contains the investigations carried out by Helon Habila in the North-Eastern part of Nigeria. The investigation revolves around the history and causes of insecurity in Nigeria. Because of the presence of the writer at strategic places that have been affected by violence instigated by the dreaded sect, Boko Haram, this text can be described as one which contains first-hand information on the prevalent issues plaguing the country.

The title of the text is significant because it captures the most notable and internationally-recognised crime perpetuated by Boko Haram — that is, the abduction of 276 school girls on the 24th April, 2014, by Boko Haram. This title, however, does not constitute the focal point of this report, rather it serves as an instance which illustrates the ruthlessness of the Boko Haram sect.

Insecurity, as highlighted in the text, is as a result of activities such as terrorism, bad governance, corruption, religious-instigated violence etc. All these issues no doubt are bound to have certain didactic or other forms of effects on the reader. Some of these effects include: pity, fear, anger, apathy, and the didactic lesson of early prevention.

Pity is one of the major effects this text has on the reader. This is plausible because ruthless and despicable acts of Boko Haram on harmless civilians will without doubt draw out the pity of the audience. A good example is how the mother of Riskatu, one of the abducted girls, is made to narrate the painful events of the day her daughter was kidnapped. This instance, surely, is significant because it captures the pain and suffering which the parents and the relations of the abducted girls are going through because of their ignorance on the status of their daughters — that is, are they alive or are they dead? Another object of the reader’s pity has to be the abducted girls who will now serve as wives and concubines of terrorists instead of being with their families and completing their education. Unarguably, the pragmatic effect of pity is brought to the fore through the theme of terrorism.

Another pragmatic effect the text will likely have on the audience is that of fear. Human beings are creatures who fear a lot of things, ranging from known and unknown dangers. In the case of this text, the reader’s fear is justified because of several reasons. One of these reasons has to be the reader’s in-depth knowledge of the activities of this sect, and another reason for the reader’s fear, obviously, is the fact that the reader is a Nigerian; hence, he is not completely safe from the violence caused by the nonchalance of the government towards small and large-scale criminal activities and, of course, violence instigated by religious extremism as seen in the way Yusuf, the elder brother of Shekau, was able to spur his followers to commit several atrocities, and also, through the Maitatsine Uprising, as described by Helon Habila in the text. Hence, one can be certain to say that the themes of violence, terrorism, religious extremism etc., are sure to instigate the feeling of great fear in the reader.

When talking about the pragmatic effect this text has on the reader, one is sure to mention anger. The reader is surely going to experience anger at the government because of their nonchalant attitude towards fighting crime and safeguarding the lives and property of Nigerians. This attitude is captured by Habila in the way he narrates the transition of different government and the way they have all handled insecurity with levity. The focus, however, centres on Jonathan’s regime as president because it was during his tenure that the Boko Haram sect committed their most notable atrocity — that is, the abduction of the school girls from Chibok. The security agencies are also not innocent. Habila, through his report, captures instances where soldiers decided to collect bribes instead of arresting offenders. Surely, the callousness of the government officials and military personnel will surely emit the anger of the reader.

Furthermore on the pragmatic effect this novel has on the reader is that of apathy. Apathy in this sense means disinterest. This disinterest encompasses both religious and political participation. Because of the extreme way in which the insurgents attacked churches, many Christians, especially those living in areas in the north, will, of course, find it difficult to feel safe during church service; hence, they will end up avoiding service to God. An example of Boko Haram’s ruthless way of dealing with Christians is captured by Reverend Madu’s story on how his church was attacked. Muslims themselves are not exempted from religious apathy. Habila reports stories of clerics who were killed because they spoke against the tenets of Boko Haram. All these acts of violence against religious institutions will surely make the readers feel discouraged about religion.

Still on apathy as a pragmatic effect, one can, of course, not gainsay the fact that the activities of Boko Haram has caused a lot of people to become apathetic towards politics. This is evident in that there has been no elections in Chibok for years because of the fears of an attack by the terrorists. This political apathy will surely manifest itself in the reader because they will, without doubt, contemplate their safety during elections, and this will ultimately make them sit at home instead of voting. Another cause of political apathy definitely has to be the Nigerian irresponsible government. Helon Habila does not mince words as he reports how the government both at federal and state level have played huge roles in the current malaise of insecurity plaguing the country. Knowledge of this irresponsibility on the part of the government is likely to make the reader brand everyone in politics as birds of a feather; hence, the reader will surely show nonchalance towards politics.

Finally, the didactic lesson that can be learnt from Habila’s report is that early action by the government towards the prevention of crime is the solution to insecurity in the country. Habila draws attention to this by constantly reporting or emphasising how the various governments in Nigeria have ignored the signs of an uprising until it became out of hand as seen in the Maitatsine Uprising and Boko Haram Insurgency. Because history is deemed as a great teacher, it is expected that Nigerians (both the government and the readers) should learn from past mistakes in order to avoid repeating these errors.

In conclusion, the text Chibok Girls is one which captures the realities of people living in Nigeria. It is set in Nigeria; therefore, it may be regarded as one which will have lots of pragmatic effects on Nigerian readers. Some of these effects have been discussed in this essay; thus, proving that the text Chibok Girls is one which can be defined based on its affective powers on the reader.

Ude, Chiedozie Orji.

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Mother visits her daughter for omugwo, gets pregnant for her son-in-law

A mother who went to do Omugwo for her daughter has allegedly gotten pregnant for her son-in-law (her daughter’s husband).

Social media user, Uncle Chike shared the story on his page where he revealed the mother who is 57 year old has fallen pregnant for her son-in-law who just welcomed a child with her daughter.

Mother visits her daughter for omugwo, gets pregnant for her son-in-law

He wrote;

Man …fear PH women. How can you go for Omugwo and get pregnant for your son in-law? How? Why is a 57yr old woman pregnant for her son in-law? What sort of “end of the world” nonsense is this?

Source: Lailasnews.com

My Pu$$y will not rest until I Buy iPhone 11

iPhone Slay Queen
It is still interesting to see how people crave for iPhones especially the latest iPhones when they are put in the market.Many women will do anything for an iPhone to the extent that some will let men sleep with them in exchange for the Apple product.Since the outdoor of the latest iPhone 11 Max Pro, several celebrities including Sandra Ankobiah, Tonto Dikeh and others have flaunted their latest mobile device on social media.Tonto Dikeh who purchased 3 pieces of the brand new series of iPhone 11 Max Pro has advised women not to sleep with numerous men just to be able to purchase the fone which cost about $1000.00.A Ghanaian slay queen has turned deaf ears to Tonto Dikeh’s advice as she had vowed not to rest until she owns an iPhone 11 Max Pro.This slay queen whose name is yet to be identified made this pronouncement on social media shared by Hiplife founder Reggie Rockstone.In the said post which she added her photo, the lady posted her photo and her caption hinted she’s ready to allow men to have their way with her so she could get money to purchase the phone.See the screenshot below

Source: browngh.com

Everywhere Konji!!! 85-Year-Old Woman Caught In A Group SXX With 5 Men. GBAMLOG.COM

85-Year-Old Woman Caught In A Group SXX With 5 Men

An 85-yr-old woman has been arrested after she was caught having group sxx in woodland in Connecticut, the United States in the penultimate week.

On Aug 9, concerned citizens called the police to report a public hook-up happening in the wooded area. The octogenarian was spotted with 5 elderly men including her husband having an orgy.

Image result for 85-Year-Old Woman Caught Having Sex With Five Men, Including Her Husband

All six were apprehended and charged with breach of peace.

The senior citizens are identified as Joyce Butler, 85 – the only woman participating in the orgy – her husband Richard Butler, 82; Daniel Dobbins, 67; Otto D. Williams, 62; Charles L. Ardito, 75; and John Linartz, 62.

Image result for 85 year old woman

According to the Fairfield Police Department, the senior citizens were busted while getting hot and heavy at the Grace Richardson

The Scene of the group sex; and four of the culprits.

Conservation Area during a surveillance operation on public hook-ups in the area. Two of the suspects, Daniel Dobbins and John Linartz have additionally been charged with public indecency.

Dobbins was previously charged with second-degree breach of peace by Connecticut police after witnesses said they spotted him walking around a park naked before police found him inside his car “with his shirt and shorts draped over him and no underclothes.”

The culprits have been released and will appear in court at a later date.

Leave your comments below…

Source: dailyadvent

Analysis on Matiiku by Chiedozie Ude. GBAMLOG.COM

Ude, Chiedozie Orji.
Department of English, UNILAG

Analysis on Matiiku

It is no news that trying to analyse a live performance is a tricky job. This trickiness may be as a result of different factors such as place and time— or more impressive, the complex nature of literature. Notwithstanding this difficulty, this paper will make an attempt to critically analyse the stage play entitled Matiiku. This essay will succinctly summarise the play and its subject matter, making use of factors such as the stage management and the gestures (which some may refer to as body language) of the actors to defend the choice of subject matter. The attention that will be paid to the factors stated above stems from the technical nature of the dialogue — that is, it was, to a very large extent, exclusively performed in the Yoruba language. However, the focus on the gestures and stage management does not in any way downplay the usefulness of the dialogue in this analysis because its importance in making the play fit its setting, and also, its subject matter cannot be overlooked. Also, it is important to note that this essay will include foreign references — that is, events or even books outside the narrative — which will be used support the arguments expressed in this paper. All these will be combined to comprehensively analyse this play.

This segment of the essay will comment on the playwright and the setting of the play. Not much is known about the playwright; hence, we move on to the setting of the play. The play is set during the colonial era, and this is reinforced through the manner in which the stage was set, and the numerous festivities which took place — the market scene; the baby/ritual scene; and the court dispute between the colonial district officer and the people. The latter is unarguably the strongest supporter of the claim that the play is set during the colonial era because it not only captures the communication problems that plagued the colonial masters due to their inability to grasp the local languages employed by their subjects, but also captures the presence of the white man (The district officer); hence, justifying the time setting— that is, the colonial period. The place setting of the play is Lagos. The introduction of three characters at the beginning of the play who represent the three white-cap chiefs of Lagos is testament to this fact. They, unequivocally, strengthen the play’s genre — that is, a historical play.

The subject matter of the play revolves around a man, who was predestined to be king, right from birth. This information was exposed by the narrator, before the start of the play. Hence, one can say that the plot of the play is based on the child, whom the oracle chooses as king. As expected, he becomes the king of Lagos once he attains adulthood; although, the colonial government later wrestled power from him. It is important to state that the fulfillment of the prophecy on the life of the king is a common motif in Yoruba themed plays— that is, the oracle can never be wrong— such as Ola Rotimi’s The Gods are Not to Blame, where the pronouncements of the oracle on the main character comes to pass. Therefore, one can be justified to state that there is a theme of fate (inevitable destiny) in the play. Another thing that is worthwhile to discuss is how the scenes in the play are linked by an interlude of music and dance. These performances (music and dance) may be regarded as entertaining because of the choreographic dance steps employed by the dancers. Being a traditional play, these songs should have deeper meanings, but that is not the focus of this essay. So, this analysis will rate the musical interlude from the standpoint of pleasure and entertainment.

One may describe the stage management as almost impeccable due to the perfect way the stage was set to represent the setting, and also, their flawless deployment of the lighting technique. To me, it is this lighting technique that makes the play stand out. The lights came up when and where necessary, not a second too early or late. Unarguably, the lighting technique was most effective when it was employed to show time — that is, day and night. This topnotch use of this technique is also brought to the fore when the lights were dimmed during the ritual scene. The solemnity and sacredness of the rituals were well captured by the eerily spooky umbrella of semi-darkness. This was enough to make the watcher understand the importance of these rituals. Another important thing I noticed due to the arrangement of the stage is the market scene. The market scene is crucial in traditional plays. The market is known as a place where rumours and stories thrive. Little wonder the birth of the would be king is announced in the market setting. The market scene is also ideal for announcement of the king’s birth because it reinforces Soyinka’s principle in Death and the King’s Horseman of the market place being a strategic location for the meeting of the three realities in Yoruba mythology — that is, the world of the unborn; the world of the living; and the world of the dead. It is important to note that the market place also serves as a link between these realities. Hence, this well believed myth strengthens the writer’s use of the market scene to announce a transition — that is, from the world of the unborn to the world of the living. The stage management was described as almost impeccable at the beginning of the paragraph because it had slight flaws. One of such flaws is the bad sound systems used in the play. Aside this, one can be justified to give the stage management crew an excellent score for a job well done.

Also, the gestures of the actors also enable non speakers of the Yoruba language to have an insight on some of the happenings in the play. The slow pace, with which those who are to make prophecies on the child move, gives insight to the audience that these men must be truly special and of high importance in the society. The greatness which is proclaimed on the baby is evident when the priests and other spectators bow to the child. However, the child’s mother refuses to bow to her child; hence, bringing into play the African belief that expects a child to prostrate himself to his parents, and not the other way round.

In conclusion, if I were asked to give my personal opinion on the play, I would rate it as a largely successful performance. The topnotch techniques employed by the stage management crew played a huge role in this. As a member of the audience who could not fully grasp the dialogues, I was entertained by the dance interlude. Hence, I can boldly describe the play as a successful one. In conclusion, this essay has made an attempt to analyse the production of the play Matiiku.

Works cited:
Ola Rotimi’s The Gods are Not to Blame.
Wole Soyinka’s Death and the King’s Horseman.

EROTIC ROMANCE: THE LOVER by Verline Seremy | GBAMLOG.COM

Facing my bedroom window, I wait. “Soon he will come,” I think
aloud. “Yeah, he will be here.”

Nevertheless, as I continued to reassure myself of the latter, something at the back of my mind was telling me otherwise. “What if he doesn’t come? What if he doesn’t want me anymore?”

Unable to stand the unknown, I walk over to sit at the foot of my bed with a heartfelt sigh. And once again, I wait. It is but two minutes to midnight and yet I am already burning for him. Slowly my body temperature rises. I can feel tiny drops of sweat drip through the crevice between my breasts. This sweet seducer of my dreams is finally a reality. No longer do I imagine the feel of his hands caressing the length of my person nor do I lick my lips in hope that I might taste the juices of a kiss that never was. For when he touches me and stakes his claim, we join together in a sensual dance of lovemaking. Rather than individuals competing in a game of possession, we are one soul riding in a quest towards utter fulfillment.

Trapped in my state of reverie, the realization that I am no longer alone takes a moment to dawn on me. The sensation that I am being watched sends chills running through my spine. I look over towards the bedroom door. It was him. And there he stood, a work of art. My Achilles’ heel. So perfect that no amount of words could even begin to do him just.

At about 6 feet 2 inches, my Adonis had an amazing allure that could turn any sane women’s head. Not to mention that he looked damn good in silk pajama bottoms. With a broad chest and an undeniably muscular physique, he made my mouth water. His face was even more captivating. My lover had the perfect bone structure with a stern square jaw to match, a straight nose, and the most inviting, yet kissable lips. His eyes were the color of deep, rich chocolate that I, on a number of occasions, found myself wallowing in. And to top it all off, he was blessed with a radiant skin that looked and tasted like the delectable flavor of Hershey’s chocolate. He was gorgeous.

Appearing out of nowhere, like he always did, he gazed all over the length of my person. It was a look that spoke of pure hunger. As if he were a ferocious wolf on the hunt and I, a gentle rabbit that would be his prey. A wicked grin slowly begins to spread across his face. The smirk both stated yet challenged. He was willing to play the cat and mouse game because, in the end, he knew there would only be one victor. Him.

As he walks toward me I realize that he carries one, long stemmed, red rose. “For me?” I purr, reaching out to take the flower. Shaking his head “no”, he moves the rose out of my reach and hides it behind his back, never taking his eyes off of me. It was part of a game we played. Never did we open our mouths to verbally speak to one another, but rather leaving it up to our eyes, minds, and bodies to do our talking. The sensations were both exciting and erotic at the same time.

All of a sudden, before I know it, I’m laying flat on my back. At this point he is just a few inches away and yet that is still too far. I can feel his warm breath against my face and his strong body half sprawled over mine. I want more. Suddenly nothing mattered, but him, I, and this moment. Taking his head in between my hands, I bend his head down until his lips gently touch mine. In that sweet yet brief contact, I feel a jolt of energy pass between us. We look into each other’s eyes and everything seems clear.

Palming his head once more, I kissed him as if my whole life depended on it. As our tongues intertwine in a battle of wills, I am breathless.

“Touch me, tease me, and show me” I cry. And that is exactly what he does.

Quickly striping each other of our clothes we jump into bed and under the covers. And this time he lies between my thighs. Then taking the rose in hand, he gently trails it down my head, nose, and lips with small kisses to follow. But he doesn’t stop there. Down my neck, between my breast, and lower the rose goes and still more hot trails of kisses follow.

I’m going crazy with need. I want more and more and more. He caresses me, teases me, and showers me with love and tenderness. But once again I want more. I feel like I’m going to shatter into a thousand pieces if he doesn’t fill me fast.

“I want you now,” I cry. “Please,” I beg, not waiting for him to answer before pulling him astride me. “Come to me”.

Then to my shock he answers me with a “Yes” and fills me over and over again. He takes me to heaven and back and heaven and back in a climax so powerful, it works the depths of my soul. As he takes me to unknown heights, I think to myself I am in heaven.

*******

Suddenly, I awaken. I am alone. Where is my lover? Where has he gone? Has he left? Why do I still have my nightgown? Then something dawns on me. A wicked grin slowly begins to spread across my face. I say to myself, “Mmmm…what a nice dream.”

THE END

ROMANCE: THE GIRL MADE OF GLASS by Ayush Kumar | GBAMLOG.COM

Heather stood 12.5 inches tall; she wasn’t colorless, as most of Kate’s friends would say (When Kate was a child); she was transparent…because she was made of glass. She would sit patiently throughout the day on Kate’s bookshelf, pretending to be a lifeless glass sculpture. She would occasionally slip between the pages of ‘Snow White and the seven dwarfs’ and would read through the book in one go; she liked Snow White but her favorite fairy tale was ‘The sleeping beauty’. There was a heart (also made of glass) embedded in her bosom, it was the only thing in her body that wasn’t transparent; it changed its color when someone touched her, red when she felt anger, yellow when she felt scared, green when she felt happy and blue when she felt sad.
All these years, her heart had been changing colors, but it’d never turned colorless…transparent. She knew her heart would only turn transparent when someone would touch her with true love; for love she knew, was pure…was transparent.
It wasn’t that Kate didn’t love her, she’d always treated her gently, but she’d always treated her like a toy…even though she knew Heather was special. Now, that Kate had grown up, she hardly even played with her.
One autumn afternoon, when Heather was gazing at the falling leaves through the slightly parted curtains, of the window near the bookshelf; she heard approaching footsteps, she became still. When the door opened she was relieved to see it was Kate, then her gaze fell upon the little thing galloping behind Kate; it was a boy made of glass mounting a horse, also made of glass. The boy was dressed in a transparent medieval jerkin and on his chest was a heart glowing in a greenish hue.
Kate cupped and gently put her hands next to Heather on the bookshelf; Heather stepped into the cup of Kate’s hands, her heart was glowing brilliant green, too.
Kate then brought Heather to the boy and his horse. Heather stood next to the boy, she didn’t know what to say but neither did the boy; he began whistling which made Heather look at him, who until then was looking at the floor (and everything else but the boy), and then he timidly extended his hand and said-
“I’m Peter,” then he smiled broadly.
Heather held his hand. Both their hearts turned transparent.