THE DEPICTION OF WOMEN AS SECOND CLASS HUMANS IN BUCHI EMECHETA; JOY OF MOTHERHOOD
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SATIRE IN CONTEMPORARY AFRICAN DRAMA: A STUDY OF HARVEST OF CORRUPTION BY FRANK OGODO OGBECHE AND OUR HUSBANDS HAVE GONE MAD AGAIN BY OLA ROTIMI
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REVIEWING THE CHALLENGES OF WOMANHOOD IN AN AFRICAN SOCIETY ( A CASE STUDY OF BUCHI EMECHETA’S JOY OF MOTHERHOOD AND NAWAL EL SAADAWI’S WOMAN AT POINT OF ZERO
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RACISM AND OPPRESSION IN RICHARD WRIGHT NATIVE SON AND ALICE WALKER THE COLOUR PURPLE
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PATRIARCHY AND WIDOWHOOD- A STUDY OF ZAYNAB ALKALI’S THE DESCENDANT AND BAYO ADEBOWALE’S LONELY DAYS
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OTHERNESS IN BUCHI EMECHETA’S KEHINDE AND SECOND CLASS CITIZEN
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GENDER ISSUES IN TRAFFICKED AND THE DESCENDANTS BY AKALI ZAYNAB
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GENDER ISSUES IN AKACHI ADIMORA EZEIGBO’S TRAFFICKED AND ZAYNAB ALKALI’S THE VIRTUOUS WOMAN
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FEMINIST APPROACH TO GENDER ISSUE WITH THE PROJECT ITSELF USING THE HANDMAID’S TALE BY MARGRET ATWOOD AND THE POWER BY NAOMI ALDERMAN AS CASE STUDY
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FEMINIST AESTHETICS IN OLA ROTIMI’S OUR HUSBAND HAS GONE MAD AGAIN AND FEMI OSOFISAN’S MOROUNTODUN
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