Online Advertising Revenue and the Operations of Newspapers in Nigeria: A Qualitative Analysis

Online advertising revenue is arguably a great innovation with ambivalent impact on the operations and management of newspaper industry all over the world. The yields from this innovation is seen as a huge source of survival to newspaper outfits and at the same time pose a lot of challenges for newspapers to establish and maintain online versions. The foregoing has nonetheless led some newspaper outfits to have a fair share of advertising revenue as well as expand their readership base while others have derailed and gone moribund. This study therefore seeks to evaluate the interface between online advertising revenue and operations of newspapers in Nigeria. The study adopts the qualitative analytical approach in highlighting relevant concepts to the topic of inquiry and concludes that Nigeria newspaper industry have joined their counterparts all over the world to have online presence and then enjoy a fair share of online advertising revenue. It recommends among others that newspaper establishments in Nigeria should strive to balance their quest for advertising revenue and professional ethics of journalism. Key words: Online advertising revenue, Operations of newspapers, Qualitative analysis, Nigeria.          

'You are putting yourself in their position': Facilitating 6th-grade EFL students' interrogation of multiple viewpoints through Image Theatre

Abstract This small-scale qualitative participatory study examines the potential of Image Theatre to facilitate 6th grade EFL students' interrogation of multiple viewpoints. Image Theatre (Boal, 1995) is a drama convention that consists of a series of embodied three-dimensional frozen images (tableaux) created by participants to represent a situation or event, which in this study has been inspired by the wordless graphic migration novel The Arrival by Shaun Tan (2006). The data was collected through video and audio recordings of 6th grade EFL students' creation and performance of Image Theatre and through ensuing semi-open-group interviews during which the 6th graders analysed their own tableaux. The data was further analysed using thematic and multimodal discourse analysis. The main research questions of the study were: • Does Image Theatre facilitate EFL 6th-graders' interrogation of multiple viewpoints? If so, in which ways? • How do the EFL 6th-graders interrogate multiple viewpoints through Image Theatre and which viewpoints do they interrogate? The study's results indicate that Image Theatre facilitated the students' interrogation of multiple viewpoints, including those of fictional characters, themselves, the audience, and their peers. During the Image Theatre process students employed external systems of enactment, including body language, props and costumes, that resulted in empathy development and active attempts to understand the characters through the creation of backstories and by considering the characters' dynamic. The results also indicate that students experienced metaxis, where they expressed themselves as both themselves and their fictional characters' simultaneously. Furthermore, the ensuing critical conversations and students' own analyses indicate that the students, through group work, were able to interrogate the perspectives of their peers and the audience by considering how their tableaux communicated. This thesis contributes to filling the gap within the research field regarding Image Theatre's potential to facilitate 6th grade EFL students' interrogation of multiple viewpoints. Additionally, the thesis aims to provide a foundation for teachers and theatre practitioners who wish to employ Image Theatre in a school context with young EFL learners and concludes by arguing for the benefits of using Image Theatre to facilitate young EFL learners' ability to consider the perspectives of others

An inquiry into the relationship between drama, traditional stories and the moral education of children in primary schools

This thesis is an inquiry into the relationship between drama and traditional stories and their potential contributions, when used together, to the moral education of young children. The stimulus for this inquiry has stemmed from my own academic interests and professional practice as a teacher educator for the primary age range. It is underpinned by a belief that this is an area which has been both under-researched and under-theorised but that it is nonetheless of interest and importance for drama teachers, primary teachers and others who share an interest in the moral development of young children. The research has proceeded with two parallel but closely related forms of inquiry. The one has been an academic investigation into those theoretical issues which underpin the project and the other has consisted of fieldwork within primary classrooms, centred upon my own teaching. In its final form, the thesis is presented in two parts of roughly equal length, the one concentrating on theoretical concerns, the other consisting of a critical analysis of my own classroom practice, where issues of theory are investigated as they directly impinge upon it. However, it has been a key aim throughout this project to relate theory closely to practice, so that the one might continually inform the other as the research progressed. In the introduction, I give an account of the genesis of the inquiry, provide an argument for its significance to the contemporary educational debate and give a clear exposition of its parameters. In Part I, I begin with a discussion of current developments in moral educational theory and make the case for the importance of narrative and narrative literature in the development of moral understanding. In applying these theories to literary versions of traditional tales, however, it becomes quickly clear that the area is problematic and informed by contradictory theories and profound disagreement. I propose that the narrative form of these tales is inappropriate to didactic moral teaching and argue that a perspective which is informed by their mythic and oral origins is best placed to help our understanding of how they can be harnessed for the purposes of moral learning. I argue that there are historical and artistic reasons for seeing an important role for drama. in this process and examine how moral processes are engaged and informed by the dramatic event. In Part IT, I introduce the fieldwork with a critical look at how the practices of drama in education can be used to engage children in ethical exploration as defined within the parameters of this inquiry. I provide a detailed account of the research methodology followed by three case studies, each of which recounts and analyses a series of lessons with three separate classes of children, centred around three distinct traditional tales. These case studies are discursive in nature, each focusing upon issues and questions generated by the particular stories and lessons. They are informed by the theoretical exposition in Part I but generate their own theoretical perspectives and hypotheses which I propose to have implications for general classroom practice within this area. In the concluding chapter, I propose that the theoretical thrust and practical findings of the project signal an important role for drama in a school's moral education policy and suggest particular areas of inquiry which would further inform this argument

Washington University Record, September 23, 1999

https://digitalcommons.wustl.edu/record/1838/thumbnail.jp

Washington University Record, November 18, 2005

https://digitalcommons.wustl.edu/record/2055/thumbnail.jp

Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art

Bibliography: p. 206-228.Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed