Computational studies of Igbo language are constrained by non-availability of large electronic corpora of Igbo text, a prerequisite for data-driven morphological induction. Existing unsupervised models, which are frequent-segment based, do not sufficiently address non-concatenative morphology and cascaded affixation prevalent in Igbo morphology, as well achieving affix labelling. This study devised a data-driven model that could induce non-concatenative aspects of Igbo morphology, cascaded affixation and affix labelling using frequent pattern-based induction. Tenfold Cross Validation (TCV) test was used to validate the propositions using percentages. An average accuracy measure of 88% was returned for the developed model. Ten purposively selected Igbo first speakers also evaluated samples of 100 model-analysed words each and the mean accuracy score of 82% was recorded. We conclude that morphology induction can be realized with a modestly sized corpus, demonstrating that electronic corpora scarcity does not constrain computational morphology studies as it would other higher levels of linguistic analysis.

Many African writers have been very critical of Europe in their works, especially in relation to racism and the experience of colonization. Yet, with the conditions in African countries becoming unfriendly to the careers of these writers, many of them have had to seek refuge in Europe. The New European context of African writing (which means an entry into the space of the Other) raises a number of issues about literary style in the exilic/migrant text, especially with regard to the use of literature as a means of recreating the self and articulating the way the self experiences a new cultural space. To what extent does this entry into the space of the Other imply dialogism and transformation? The present paper discusses the stylistic and discourse patterns utilized by the Nigerian poet, Uche Nduka, who has been in self-exile in Germany, in his The Bremen Poems. It analyses the images that are enlisted in the textual politics of re/identification in the poems, especially in the articulation of Europe/Germany as a productive space. It analyses the images that are enlisted in the textual politics of re/identification in the poems, especially in the articulation of Europe/Germany as a productive space.

The article explores the cultural and semiotic elements of aso a/aro, a Yo ruba bridal fabric that features interesting animal and domestic object motifs. Generally spectacular bridal aso alaro were stored away after the wedding event and they became treasures that many people beheld later in life particularly because of the design motifs. This paper demonstrates how the iconographic features of the focused bridal fabric could be defined and interpreted by means of verbal arts and in terms of Yo ruba cultural values , and attempts to establish that, although this type of cloth design/tradition has eclipsed in the context of modernity, its meanings are significant enough to engage intellectual attention as through which a society tried to articulate its understand ings of social and cultural experience .

This poem playfully addresses the slippery nature of linguistic signification, employing humour and sarcasm in presenting a wide range of human experience. It ironical twists -- and "strokes" (read ambiguously as both a giving a punishment and erotic pleasuring) -- move from the naming of location through international discourse of capital to the crumbling relationships between nation states. It reading of the signs of language is tied to the unease and fracture in cultural and political experience.