Department of Social Science

Permanent URI for this collectionhttp://erepository.kibu.ac.ke/handle/123456789/103

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Knowledge and Practice of Responsible Research Ethics among Doctoral Students and Alumni: A Case Study of Kibabii University, Kenya
(IOSR Journal of Research & Method in Education, 2022-09-01) Obino, Paul Ongány; Owoche, Patrick Oduor; Abuya, Joshua Olang'o
Adherence to principles of responsible conduct in researchis at the heart of doctoral supervision, and lack of it severely affects the quality and credibility of such study outcomes. Very few studies have investigated the level of knowledge and practice of responsible research ethics in institutions of higher learning in Kenya, a gap this study sought to address. The objective of this study was to investigate the knowledge and practice of responsible research ethics among doctoral students and Alumni at Kibabii University, Kenya. To realize its objective, the study conducted a cross sectional survey using a structured questionnaire to gather relevant information from 25 doctoral students and Alumni of the University. Data obtained was analyzed descriptively. Results indicate 48% of respondents were not knowledgeable about University’s Research Ethics Committee. The majority (54.2%) of the respondents lacked prior training in responsible conduct in research. The study recommends the need for the University to regularly sensitize doctoral students on the existence and roles of the various established institutions in the research process. Training for doctoral students in all areas of responsible conduct in research is critically necessary
The pragmatics of zoosemy, colour and shape in Kenyan political party symbols
(KIBU, 2018-09-03) Nyongesa, Wekesa Ben
In many parts of the world, political parties use symbols and colours for identification. Political party symbols and colours are used to make political activities visible and avoid confusion. Political parties were formed to participate in national elections and to promote democracy. Electorates affiliate themselves with one political party or the other based on numerous factors including the symbols and colours of a party, flag bearer of a party, philosophy of a party and others. This eventually influences their decision in voting. In Kenya, seventeen political parties had been registered by 31st May 2017. These included Jubilee Part (JP), Amani National Congress (ANC), Orange Democratic Movement (ODM), Party of Independent Candidates of Kenya (PICK) among others. All these political parties have varied symbolism and philosophies behind their establishment. The symbols and colours identify one political party from the other. The symbols chosen are such that they can be easily understood, remembered and recognised by the average voter, because not every electorate is literate and also just when the voter sees the symbol he/she will have an idea of that particular party. The symbols are so important that to date most parties are identified by their symbols and colours. Symbols and colours are also supposed to identify political parties for their members to vote during elections. Besides, electorates should have knowledge of their party identity symbols and colours. This important issue of pragmatic knowledge of symbols, their political roles, among others is a real issue in Kenya‘s democratic dispensation. These may have accounted for the large numbers of electorates who err in their decision to vote effectively. This is compounded by high level of illiteracy among adult Kenyan population who qualify to vote. The combination of symbols and colours of the political parties becomes an easy way of identifying one party from the other and also helping these groups of electorates to cast their ballot for their respective candidates. However, the case of a high number (over 500,000) of rejected ballot papers in the 2017 Kenyan general elections was alarming. This paper interrogates how political party symbols construct and maintain the reality of particular parties and social groups in Kenya. Put differently, the paper presents a pragmatic analysis of animal symbols, shapes and colours used in the identification of the registered political parties in the Kenyan 2017 general elections. This paper will be of benefit to many players in politics including political party leaders who will draw knowledge, educate and improve party activities with regard to party symbols and colours, political journalists who gather and disseminate information about political parties to the general public. Secondly, party supporters will appreciate and be tolerant to each other‘s views especially those from their opponent. Thirdly, the general public who for one reason or the other do not show commitment towards any party will also be open-minded to party activities and lastly, civic educators to better understand the symbolism of the symbols and colours of political parties. They will be in a better position to educate the mass electorates and the general public. It will reduce political acrimony and promote high tolerance of each other‘s political thoughts and views.
The communicative functionality of code mixing structures in contemporary Luhya secular music texts
(KIBU, 2018-09-03) Makokha, Martha; Mbori, Bob J.O.; Alati, Atichi
This paper is based on the communicative functionality of code-mixing linguistic structures in contemporary Luhya secular music texts. The study aimed at finding out how intra-sentential and intersentential code mixed linguistic structures are used to facilitate the expression of the diverse thematic concerns in the music texts. The paper sought to identify the code mixing structures and to examine the communicative roles expressed through the linguistic structures. Fairclough's (1993) Critical Discourse Analysis theory’s aspect that considers language as a social practice was applied to the study. Critical Discourse Analysis theory, that is discourse as a social practice was used to explain the functional organization of the code-mixed linguistic structures to express social meanings such as identity, solidarity and power relations. As a social practice, CDA explains that language is shaped by the society’s linguistic needs and the society in turn dictates the do’s and don’ts of language. Critical Discourse Analysis theory posits that there is a systematic relationship between the social context, the functional organization of the language and the discursive production of relations of power. The study was a cross-sectional survey focusing on thirty contemporary secular music texts composed in the different Luhya dialects. The texts studied were selected using purposive sampling technique based on popularity of the musicians in the year 2015. The popular music texts were those frequently played on the local radio stations, Sulwe, West and Mulembe F.M. Data collected was analysed using corpus methods of linguistics that considered the different linguistic structures and the communicative functions of the linguistic structures in the text. Specifically formal elements such as cases of intra-sentential and inter-sentential code mixing as used in the music text were examined from the purposes they served. The findings reveal that there is frequent use of intra-sentential code mixing structures by Luhya musicians for different social functions such as expression of authority and the ethnicity of the musicians. The study contributes towards highlighting on the positive linguistic aspect of code-mixing as a communicative strategy.
Outright brutality or a sign of love? the concept and practice of wife beating among the Kuria of east Africa
(2013) Mohochi, Ernest Sangai
The Kuria, a poor mainly agricultural community is found in Kenya and Tanzania in East Africa. They inhabit Kuria district in Kenya and Mara province in Tanzania, the majority being in Tanzania. Though they are separated by the country borders established during the colonial times, the Kuria remain the same in all cultural respects. Indeed, they still maintain very close family ties across the borders. It is common to find a Kenyan Kuria whose all uncles and grandparents are Tanzanians and vice versa. One area of cultural practice that they have maintained all along is the discriminative nature of their gender relations. There is widespread violence against women in this community, with the cruelest form being wife beating. Women were largely meant to be seen and not to be heard. Unfortunately, despite changes over time, wife beating is still practiced among the Kuria community. It used to be argued that, it is an accepted way of showing ones love and care for the wife. It was so deeply entrenched that the wives readily accepted and learnt to live with it. Those who did not get a battering for long even doubted the love of their husbands. The objective of this paper is to take a look at this practice by attempting to make a deep cultural explanation for its prevalence. I will strive to show whether changes over time in society due to education, rural urban migration, cross cultural interactions, and exposure to anti-violence literature has led to significant changes over time. We shall also offer intervention measures as solutions on the way forward for the Kuria and other communities with similar tendencies.
Language and performing arts: east African hip hop and public sensitization for political change
(IGI Global, 2011) Mohochi, Ernest Sangai; Wachanga, D Ndirangu
One of the many consequences of globalization and the new world order is the increased cross border interaction among people, leading to more transfer and exchange of knowledge, technology, values and virtues, vices and viruses, and other traits among nations. One area that has been impacted heavily by this flow, largely aided by the Internet and other emerging media, is culture. To a large extent, though, the transfer of cultural practices appears to be more from the western and more developed world to the weaker, economically and politically less powerful nations. But what is borrowed is indigenized, sometimes entirely altered, to meet the needs of local communities. These changes are reflected in Africa’s music scene, dances, and other genres of popular culture. Within that context, this chapter aims at meeting two goals. First, to analyze the extent to which musicians, especially the youth, have managed to maintain a balance between educating and entertaining society at the local level, while keeping abreast with emerging global trends and influences. Particularly, it will show how the young generation of East African musicians uses music to sensitize the public by serving as critics of the management of public affairs and how this has contributed to political change. Secondly, it will investigate the effects that these emerging practices have had on the use of African languages in the performing arts.

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