Phonological joke is an area that appears to be under-studied especially in its application to the analysis of humor in a given setup such as Ghana. This study explores the concept of phonological joke in the songs, Atia and Osookoo by the Ghanaian musician, A. B. Crentsil, paying attention to the critical issues that are embedded in the songs. These selected highlife songs are conveniently sampled in order to capture the elements of phonological joke. Phonological joke is explained as a type of humor that parodies the sound of another language for an effect other than simply amusement. This study's application of phonological joke, as an interpretative framework, is borne out of the views shared by phonological joke theorists, Adrjan & Muñoz-Basols. At the end of the study, the findings reveal that A. B. Crentsil uses phonological parallelism and paradigmatic associations to foreground the conveyance of critical messages such as: stereotyping certain ethnic group(s) and mixed or cross-cultural gender representations. The major implication of this study is that the utility of humor in Ghanaian music goes beyond amusement to convey critical issues. This study contributes to the on-going pedagogical understanding of phonological joke in the Ghanaian highlife culture.

In Africa, queer sexual identities have received mixed feelings, leading to the debate in a bid to clearly define the legalization or non-legalization of it in various countries. And, looking at the current changing trends of this concept in Africa, the selected literary text happens to situate itself well within the fluid queer discourse. It follows then that the text provides the sub-plot of characters that have an overtly queer erotic and queer social bonding with some other characters. Consequently, the crust of this study is to draw on the broader queer concept in interrogating some pressing concerns of queer sexual identities in Okparanta‟s Under the Udala Trees. Among other things, the research demonstrates how contemporary works of fiction like Under the Udala Trees use their narratives to conceive space and language whose midpoint encompasses literary innovations and the significance of some experiences of queer individuals within an African setting. The study ultimately uncovers the literary merits of queer sexualities in Okparanta‟s Under the Udala Trees instead of simply portraying these sexualities as alternative solutions in adverse conditions to some individuals who cannot help being the way they are.

In Ghana, most of the recent studies on codeswitching (CS) have largely considered formal settings like religious centers (specifically the church) and the educational arena (specifically classrooms). Such studies show that CS is common in the classroom and churches and has academic and religious implications. In the general Ghanaian context, most of the CS situations among the major indigenous languages like the Akan, Ga, and Ewe investigated also report the effects of this language phenomenon on such languages. The CS situation among the “not widely spoken” indigenous languages such as Anufɔ is still opened to scholarship. The paper scrutinizes the employment of CS in informal settings among the Anufɔ people in Ghana. It employs ethnographic data collection techniques for the analysis. The analysis is framed within the Markedness Model of using CS in conversations. The study reveals that CS involving Anufɔ and English is linguistically and sociopsychologically motivated by such factors as: (i) vocabulary/lexical gap; (ii) language incompetence; (iii) preference for English; (iv) clarity and repetition; and (v) unintentional/subconscious habit. The effect of this CS situation is the emergence of a kind of Anufɔ/English language. This study is a contribution to the CS studies in Ghana.