This study makes a comparison between a well- established tool for measuring market orientation (MKTOR) with a new tool especially designed for measuring university performance, i.e., University MARKOR. Data were collected from 212 private and public universities across Tanzania and were an analyzed using AMOS 22. A response rate of 58.2% was achieved and considered adequate. The findings show that both scales demonstrated good model fit. Consistent with previous studies University MARKOR has demonstrated superior psychometric properties than MKTOR.Strong leadership is needed at universities in order to identify new sources of funding and reduce their dependence on traditional sources such as school fees, subventions and grants. A major contribution of this study is that it is the first ever study in Africa which is pan territorial involving both private and public universities that has tested the robustness of market orientation scales.
This paper aimed at interrogating the changes and continuity in an aspect of the Funeral rites of the Urhobo and Isoko of the Niger Delta of Nigeria. It critically examine the practice of returning the corpse of the married woman to the homestead of her family rather than bury her in her husband’s homestead. This practice has over the years been questioned and interrogated and calls for scrutiny. The paper argues that social change factors and processes have introduced continuous changes in the Urhobo and Isoko with regards to the funeral ceremony and have greatly been affected. The practice has been perceived as that which promotes Patriarchal dominance. The paper adopts the historical and analytical model, deploying both primary and secondary data in interrogating the practice of returning the corpse of the married woman to the homestead of her family rather than bury her in her husband’s homestead and avers that if not properly handled, it could affect intergroup relation. The paper, therefore, concludes that this trend is posing a serious threat to peaceful and harmonious intergroup relation among families that indulged in inter-tribal marriage. It recommends among others, that the Urhobo and Isoko should be re-socialized properly to flow with modernity in this aspect of their culture.
This paper elucidates the defects of Hong Kong comedy since the 1950s with regard to five aspects: the inflexibility of structure, the obviousness of theme, the drawback of the plot, the slapstick style and the vulgarity of taste. The story and the characters are relatively stereotypical and rigid in terms of structure. The dialogue and the camera angles are straightforward and obvious in the way that they express the theme. With regard to the plot, the structural design is simplistic and lacking in depth and nuance. Their characteristic slapstick style is expressed through the liveliness and nonsense of folk discourse. They are typically in vulgar taste, which finds expression in the customs, imagery and language of carnivalesque civic culture. The Hong Kong comedy genre has a very strong aesthetic tradition and has performed brilliantly in a commercial sense, but filmmakers need to recognize and introspect on its shortcomings, with a view to improving the aesthetic quality of Hong Kong comedy films and Chinese comedy films more generally.
Theatre, the earliest form of entertainment and enlightenment in Nigeria, is becoming a ghost of itself as a result of its inability to take on the colouration of the times. Some scholars are of the view that there should be a revival of the theatre by establishing more theatre while it remains bonded to its functional root, the live stage, because of its uniqueness. This study examined the likelihood of this renaissance and its survival in the face of the deluge of other media of entertainment in a digitally advanced era and environment. The study relied on the Media Displacement Theory, MDT, which explains a paradigm shift in an individual's use of new media by discarding the preceding one. Using in-depth interviews and Focus Group Discussions, FGD, the study revealed that live theatre-going culture has become unpopular with the Nigerian audience as a result of digital technology and sundry circumstances in recent times, which include insecurity and the COVID-19 outbreak that negates public gathering. The paper advanced that Nigerian theatre cannot afford to remain glued to its roots in a technologically digitalised environment or society, but has to evolve.
This paper will explore the following themes: (1) To argue that the concepts of Good and God belong to distinctly different discourses – the former to ethics or moral philosophy, the latter to religion; (2) There is no necessary logical link between Good and God; (3) Far from God logically preceding Good, it is Good which logically precedes God and guarantees its existence as a supernatural entity; (4) From above it follows that a society can be moral and not subscribe to a religion which postulates the existence of God as a supernatural entity; (5) Chinese history, its culture and its civilisation which have lasted and continues to endure for at least two and a half thousand years constitutes a refutation of the thesis that there can be no morality without religion and that a society resting solely on Good and not God could survive; (6) European Enlightenment which occurred in the 18th century is about dispensing with God and religion, ushering in secularism and humanism as an alternative philosophical foundation for society; (7) The Chinese has been secular and humanistic since the Spring and Autumn period when Kongzi and other philosophers lived and taught. This means that the Chinese Enlightenment Project has occurred, more than two thousand years before the European Enlightenment Project; (8) Furthermore, there is compelling circumstantial evidence that the Chinese Project could have played a role in the emergence of the European Project via the Jesuit route of knowledge transmission from the East to the West.