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Introduction to Ịzọn Language and Culture

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Tamaraukuro P. G. s.

Academic Journal of Modern Philology

2017

vol. 6

127-143

This paper aims to introduce Ịzọn to the world audience. We note the status of Ịzọn as a “main” language, the geographical location of the Ịzọn people in the Niger Delta of Nigeria, the occupations of the Ịzọn, the consonants, vowels, vowel harmony and nasalized vowels in Ịzọn. We observe that in Ịzọn a vowel becomes nasalized when it occurs in the environment of a nasal; that a high tone marked ( ́), and a low tone marked (`) perform both lexical and grammatical functions in Ịzọn; that Ịzọn has S-O-V word order; that each word category is written separately; that the negative gha is marked on the verb; and that borrowed words, names of places and languages are nativised. We throw some light on the Ịzọn numerical system, namely: the traditional cardinal numbers such as óyí(10), sí (20), andẹ́/ọndẹ́(400) and andẹ́rịmandẹ́/ọndẹ́rịmọndẹ́ (160,000); the modern standardized numbers such as 100 ọdọ́zọ́, 1000 ọgị́zị́, 1,000,000 ịpámụ́ and 1,000,000,000,000 ẹndẹ́rị́ and the ordinal numbers, bụlọụ 1st and mamụ karamọ2nd. Next we look at the kinship, persons, religious, colour, body parts, cooking, occupational and other terminology in the lexicon of Ịzọn. Finally we observe some salient aspects of Ịzọn culture such as their dressing, religion, food, festivals, dances, traditions, and customs.

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”

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Prezi G. s. T.

Academic Journal of Modern Philology

2018

vol. 7

131-140

Beyond its definition as a story or an account of a sequence of connected events and experiences that is told or written in prose or poetry form in great detail and arranged in a logical sequence, or as the practice and art of telling stories, the narrative holds a special place of honour in the West African literary space. Although comparatively few are gifted in the art of story-telling, many often participate in listening. The griots, as these story-tellers or narrators are called in the countries that make up the Old Mali Empire, still wield some respect in modern times and often tell their stories in huge festival-like settings to the accompaniment of drums and tambourines. From the Senegambia in the West to Nigeria in the East, West Africa has produced literary giants in the narrative art form. Ousmane Sembene’s God’s bits of Wood(1960) and William Conton’s The African (1960) through D.T. Niane’s Sundiata: An Epic of Old Mali (1965) and Camara Laye’s TheAfrican Child (1953) to Chinua Achebe’s Arrow of God (1964) and J.P. Clark’s Ozidi (1966) all follow this narrative tradition. Ịzọn narratives consist of both the oral and written forms. However, this paper will focus on Bina Nengi-Ilagha’s Condolences (2002), Gabriel Okara’s The Voice (1964) and “Little Snake and Little Frog” (1992).

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2 Academic Journal of Modern Philology

1 Prezi G. s. T.

1 Tamaraukuro P. G. s.

1 2018

1 2017

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Introduction to Ịzọn Language and Culture

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”