Abstract

“Sex sells” is a thriving trend in the hip-hop world which certainly applies to contemporary Nigerian hip-hop music, despite the Nigerian socio-cultural restriction. Studies of Nigerian hip-hop music have focused on the effects of sexual content, with a few focused on the strategies used in the discussion of sexual themes. Fewer studies, however, have examined metaphors of sex and body parts in Nigerian hip-hop music. This paper investigates the use of linguistic metaphors of sex in contemporary Nigerian hip-hop music with insights drawn centrally from the theory of embodiment and Odebunmi's approach to context. Sixteen tracks from eight contemporary Nigerian hip-hop artistes, comprising three females and five males, were selected through stratified random sampling. The selection was based on the recurring themes of sex and sexuality and wide acceptability and accessibility of their songs. The study revealed that metaphors of sex did not totally have cultural and religious allegiance, and that sex was cognitively described as a game, food, and music in the music. The work also revealed that sex linguistic metaphors were used freely in the music despite some socio-cultural restrictions. It was concluded that the use of metaphors constituted a powerful tool in understanding the perception of sexuality by youths in contemporary Nigerian hip-hop music.

摘要

“性卖”是嘻哈界的一种蓬勃发展趋势，尽管尼日利亚存在社会文化限制，但这种趋势肯定适用于当代的尼日利亚嘻哈音乐。尼日利亚嘻哈音乐的研究集中于性内容的影响，少数研究集中于讨论性主题的策略。然而，很少有研究检查尼日利亚嘻哈音乐中性别和身体部位的隐喻。本文研究了性别的语言隐喻在当代尼日利亚嘻哈音乐中的使用，并从体现理论和奥德邦米的情境方法集中得出了见解。通过分层随机抽样，从八位当代尼日利亚嘻哈歌手中选出了十六首曲目，其中包括三位女性和五位男性。选择基于反复出现的性和性主题，以及歌曲的广泛接受和可及性。该研究表明，性的隐喻并不完全具有文化和宗教上的效忠，而性在认知上被描述为一种游戏，食物和音乐中的音乐。这项工作还表明，尽管存在一些社会文化限制，但音乐中还是自由使用了性别语言的隐喻。结论是，隐喻的使用是理解当代尼日利亚嘻哈音乐中年轻人对性意识的有力工具。这项工作还表明，尽管存在一些社会文化限制，但音乐中还是自由使用了性别语言的隐喻。结论是，隐喻的使用是理解当代尼日利亚嘻哈音乐中年轻人对性意识的有力工具。这项工作还表明，尽管存在一些社会文化限制，但音乐中还是自由使用了性别语言的隐喻。结论是，隐喻的使用是理解当代尼日利亚嘻哈音乐中年轻人对性意识的有力工具。