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A Guide to Nigerian Journals and Institutional Repositories
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Worry has been expressed over the reliance on foreign journals which are products of research carried out in and around those societies, when there are so many local journals in and about the country. One of the reasons for this discrepancy is the invisibility of local journals published in Nigeria. Researchers in most cases are only aware of the journals published within their environment or online. Nigeria is a big country with many academic institutions and research institutes that make frequent journal publications. This work “A GUIDE TO NIGERIAN JOURNALS & INSTITUTIONAL REPOSITORIES” is an attempt to promote the use of local journals in Nigeria. The publication has collected all the journal titles with their table of contents published locally within 2017/2018 in the field of Agriculture, Engineering, Arts, Science & technology, biology and life sciences, information science etc.
EDITORS: ASOGWA, J.I; NWIMO, L.C & ORUKA, J
DATE OF PUBLICATION: 10/04/2018
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The literature on Yoruba sculpture and sculpture-related problems is extensive, but as yet there is no publication which describes the true range and depth of the art.
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of a given subject. Certain kinds of research concern the relationship between Yoruba sculpture and the arts of Nok, Ancient Ife, "Great Benin", Esie, and the traditional sculpture of contemporaneous neighboring peoples.
In the interest of brevity however, most references on these other styles have not been included. Much unpublished data has also been excluded; for this kind of material the student is referredto the archives of the Western Region Secretariat (ibadan, Nigeria), the archives in the Nigerian Museum (Lagos), and the IRAN archive (Porto Novo, Dahomey). In addition to commonly known types of wood sculpture — figures, masks, headdresses, staffs, house posts, and doors — Yoruba artists created works in wrought iron, brass, pottery, ivory, beads, leather, and stone. Most of these objects served various cults, each of which has its own repertory of songs, dances, and symbols.
The richness and complexity of this sculpture is a function of many interrelated factors: over five million people divided into ethnic sub-groups unified by language; an old and unusual tradition of urbanism; an extensive pantheon of spirits (brisa), at least twelve of which call for sculptural forms recognized across Yoruba land; an elaborate cosmology; a complex social and political organization; a frequent interaction
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15 West 54 Street
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