Migration and Identity discourses have attracted the interest of Nigerian female writers across literary generations. Over the years, studies on migration and women’s identities have focused on patriarchal, racial, and gendered discourses. Most recently, scholarly interest has shifted to portrayals and constructs of women’s identities not just from the hegemonic, traditional or racial contexts but to the focus on fragmentations and dualities. Focusing on Homi Bahbah’s theory of hybridity this paper attempts to capture the complexities of identities in the consciousness of migrants especially adolescent females. Helen Oyeyemi’s The Icarus Girl demonstrate multiple and multilayered identities as realities of women from multi-cultural roots to reinforce the author’s perspectives on the complexities of global and local cultures. The paper concludes that Oyeyemi’s novel captures multicultural and racial consciousness of females portrayed in modern and global settings. In The Icarus Girl, Jessamy suffers frustrations, anxieties and psychological stress as a British Nigerian owing to double consciousness and the entaglements of being a twin in the African melieu.

This paper undertakes an ecological reading of Nigerian Literature and the way they are fictionalised in contemporary literary representation. Many writers through their works have explored deep ecological concerns and the phenomenon of man’s activities on the environment. In literature, as in other spheres of life, these concerns are always on the front burner of discourse. One of such concerns is the insensitive and colossal degradation of the environment as manifested in water, land and air pollution. The paper adopts ecocritical theory to reveal the text under study. In addition to examine matters of environmental neglect and the relationship between fiction and the environment. The theory takes in the analysis of Adamu Kyuka Usman’s The Death of Eternity. Through ecocritical lens therefore, the paper highlights the ensuing conflicts that develop from the injustice done to the environment. It concludes that eco-activism in the selected novel is man’s effort to address the injustice done to the environment.

Drawing upon Sara Ahmed’s cultural politics of emotion and Raymond Williams’ structures of feeling, this essay examines how ‘shame’ functions as political instrument in Arundhati Roy’s The God of Small Things (1997). While classical affect theory, particularly Silvan S. Tomkins, positions shame as self-corrective—triggering introspection and behavioral modification—cultural theorists argue that shame operates relationally as social technology. Ahmed’s insight that affects do not merely represent individual interiority but emerge through social relations enables this reading of shame as constructed rather than essential. This paper argues that shaming in Roy’s novel serves as regulatory mechanism upholding caste hierarchies in Kerala society, yet Ammu, the divorced Brahmin protagonist who loves an ‘untouchable’ Paravan man, refuses shame’s interpellative force. Rather than self-correction, Ammu engages affective refusal—repudiating shame’s moral valence while asserting her cross-caste desire as resistant praxis. Her ‘shamelessness’ destabilizes both the social instrumentality of shame and the naturalized ‘love-laws’ governing caste-based matrimonial alliances. This reading contributes to affect studies by demonstrating how marginalized subjects navigate affective governance, revealing shame's failure as disciplinary technology when its target refuses compliance.

The objective of this study was to improve English grammar acquisition among female students in the fourth preparatory school year by employing the jigsaw technique. To accomplish this objective, the researcher employed an experimental methodology and chose the sample from Yarubia Preparatory school which consisted of seventy two (72) female. The researcher selected two classes: one as the experimental group (36 students) and the other as the control group (36 students). During the second term of the 2025–2026 school year, the control group learned the old way, while the experimental group learned the jigsaw approach. The primary instrument of the study was an accomplishment test including four areas and comprising 32 validated items. It was given as a pre-test to make sure the two groups were the same and as a post-test to see how their achievements differed. We used SPSS, the T-test, as well as Mann-Whitney test to collect data that we obtained and figure out how important and what direction the results were going. Effect size was also assessed to see how the jigsaw method affected things. The results showed big disparities for the benefit of the test subjects the experimental group, which showed that the technique worked. The research advised using the jigsaw method to teach English grammar and said that more research should be done to see how it affects other language skills and disciplines.

This study examines the relationship between language, gender, and power in contemporary Hausa popular poetry through a literary and linguistic analysis of selected songs by Ali Jita and Tijjani Gandu. Contemporary Hausa popular songs, particularly those centered on marriage, love, and polygamous relationships, serve as significant cultural texts that reflect social values, gender roles, and power dynamics in Hausa society. The study focuses specifically on the representation of the Uwargida (senior wife) and Amarya (new bride), analyzing how language constructs their identities, roles, and positions of power within marital relationships. Employing literary analysis and sociolinguistic approaches, the research examines diction, praise expressions, metaphors, repetition, code-switching, and tone in the selected songs. The study investigates how linguistic choices reflect gender expectations such as beauty, loyalty, respect, authority, and romantic appeal. It also explores how power is constructed and negotiated through language, revealing that the senior wife is often associated with authority and domestic control while the new bride is linked to emotional and romantic influence. The study argues that contemporary Hausa popular poetry does not merely entertain but actively reflects and reinforces social ideologies about gender roles, marriage hierarchy, and power relations in Hausa society. This research contributes to Hausa literary studies, sociolinguistics, gender studies, and popular culture by demonstrating how language in popular poetry serves as a tool for expressing gender identity and negotiating power in polygamous marital settings.

Recent lyric poetry has begun to increasingly move from the Romantic conception of subjective unity to the unified forms of voice, which are fractured, relational and historically conditioned by trauma, racialisation and migration. The poets Claudia Rankine and Ocean Vuong are at the heart of these poetic trends; the forms their voices take engage dislocation, hybridity and bodily memory. This study seeks to look at the ways dislocated voice and fractured self are the core aesthetic and political forms in the work of Rankine and Vuong and to evaluate their importance to contemporary lyric theory. Close reading of the primary texts and synthesis of more recent scholarship in lyric theory and trauma studies, race studies, and migration studies are used for this critical, comparative review approach. The findings show how both poets employ fragmentation, unstable address and mixed modes to signify subjectivity as relational, historical and migrant and as racial. Vuong highlights structures of memory from the body, memory of migration, and "civic and documentary lyric", while Rankine foregrounds intimate, civic, and documentary memory, all of which collectively recalibrate the nature of the lyric voice in a contemporary context. The study ends by arguing that the present lyric is no longer a single, coherent subjectivity but is rather a dislocated, relational, and historically situated mode of expression. It introduces, in both aesthetic and epistemological ways, the theme of fragmentation, which opens a space for lyric to address trauma, migration, and racialised experience in the context of today's literature and to produce a lyric theory that enriches the critical transnational significance of modern scholarship.

Amid the ongoing digital transformation of education, the integration of Artificial Intelligence (AI) into Chinese listening instruction has become increasingly indispensable. AI facilitates personalized learning pathways, enriches the diversity of listening resources, and fosters students’ autonomous learning competencies. Furthermore, AI empowers lecturers to modernize pedagogical practices, thereby enhancing the overall quality and effectiveness of Chinese language education in higher education institutions.