Explaining and interpreting biblical concepts in different cultures without due regard to the cultures of the biblical world have some challenges. When caution is not taken, one stands a chance of imposing one's cultural worldview on the biblical text. Understanding of the concepts in one's culture could be useful in helping him or her grasp the meanings of the biblical concepts. This paper delves into wisdom in the OT and that of the Akan of Ghana, analysing critically the connotations of the concept, sources and acquisition of wisdom in the OT vis-à-vis those of the Akan ethnic groups of Ghana. Through a comparative analysis, it attempts to describe how the OT concept of wisdom could be understood with the help of its parallels in Akan, regardless of their disconnections. It discovers that the Akan concept of wisdom can be of help in the interpretation of wisdom in the OT, but it cannot fully explain it. The paper pinpoints one of the challenges that interpreters are likely to encounter in the use of reader-centred approaches of biblical hermeneutics. Keywords: Wisdom, Israel, Old Testament, Wisdom Literature, Akan, Culture.

I S S N 2349-4379V o l u m e : 4 N u m b e r : 2 I n t e r n a t i o n a l J o u r n a l o f A d v a n c e s i n H u m a n i t i e s 431 | P a g e c o u n c i l f o r I n n o v a t i v e R e s e a r c h A p r i l , 2 0 1 6 w w w . c i r w o r l d . c o m AFRICA'S DIRGE: THE ILLUSION OF SOLUTIONS TO THE NATIONS?Antwi, Emmanuel (PhD) ABSTRACTOver the centuries, the theatrical and pretentious activities of African Political leaders have culminated in the evolution of a thick skin of carelessness and indifference guided by fuzzy and visionless eyes that stare hopelessly into the future. It is certainly difficult now to determine what could stair her to realize her precarious situation and act. Time and again African nations have proven unable to solve petty problems, thoughtless of managing weightier matters of the current century, while her keen and expectant citizens behold, distressed with disillusion and frustration. Employing a constructivist paradigm the study focuses on the works of artists whose works reference issues of the continent of Africa, as means to lambast satirize and chastise her to wake up. The work is organised on the basis of Stream-Write, a qualitative method of research through art that share qualities of prose, poetry and drama to benefits from the expressive qualities available in same, and to allow for the liberty needed in exploring the domain of the intuitive, creative and sometimes illogical writing impulse. From all historical indications I submit in conclusion that indeed Africa is gleefully willing and hopeful to embrace an end far worse than her most dreadful past.

In nature, everything has a form, occupies a space, and is susceptible to change in a matter of time. Nature, form, space and time could well be classified as theoretical and the problem of intangibility of the said terms is addressed with the application of colour to visually represent them through paintings. Through application of colour, this article pulls the said incorporeities from their abstract realm for visual perception. Methodology of Observation was applied to observe some scenes at the same time, but a particular scene or spot was studied at four different periods of the day namely; morning, afternoon, evening and night. Participatory methodology was utilized to capture the scenes with a camera and, through the application of colour, painted the captured scenes on canvasses. Analyses of the painted scenes were finally made to result in conceptually representing nature, form and space with painted objects. Four of the scenes visually present the four periods or time of the day which are morning, afternoon, evening and night. The analyses have subsequently resulted in visually bringing about the concept of nature, form, space and time. In conclusion, if the intangibilities of nature, form, space and time could be concretized for visual conception, then any theory could be practically materialized.