Chapter One — 1.1 Background to the Study

Bruce Onobrakpeya's Sango occupies a significant place in the Nigerian literary canon, and continues to attract critical attention for the richness of its language and thematic concerns.

Existing criticism of Sango tends to focus on its broader thematic concerns, with sculptural form as a stylistic device in service of urban life receiving comparatively less sustained attention.

1.2 Statement of the Problem

While Bruce Onobrakpeya's Sango is widely studied, there is no settled critical consensus on how its sculptural form functions specifically in relation to urban life. This study undertakes a close textual analysis to address that gap.

1.3 Objectives of the Study

1. To examine the use of sculptural form in Bruce Onobrakpeya's Sango.
2. To analyze how sculptural form contributes to the portrayal of urban life.
3. To assess the effectiveness of sculptural form as a stylistic/thematic tool in the text.
4. To situate the findings within the broader context of Nigerian literary/linguistic scholarship.

1.4 Research Questions

1. How is sculptural form used in Bruce Onobrakpeya's Sango?
2. In what ways does sculptural form contribute to the portrayal of urban life?
3. How effective is sculptural form as a stylistic/thematic tool in the text?
4. How does this reading relate to the broader body of Nigerian literary/linguistic scholarship?

1.5 Significance of the Study

This study is significant to students and teachers of fine and applied arts, offering a close reading of Bruce Onobrakpeya's Sango that can support classroom discussion and further critical work. It also contributes to the broader body of scholarship on Nigerian literary and linguistic studies.

1.6 Scope of the Study

The study is limited to a close textual analysis of sculptural form within Sango, reflecting a clearly defined scope; it does not extend to a full survey of the author's other works.