A Contrastive Analysis of English and Hausa Proverbs in Selected Texts

A Contrastive Analysis of English and Hausa Proverbs in Selected Texts

ABSTRACT

This study is a Contrastive Analysis of English and Hausa proverbs in selected text. The study considered three (3) research questions which were based on the similarities and differences between the English and Hausa proverbs. The sample population covers collections of hundred (100) proverbs. The data collected were subjected to comparison at different levels. Quick‟s structural mode land Wilson‟s model are used. Banathy’s contrastive model is then used to describe proverbs according to form, patterns, distribution and variations. Overall findings on the similarities and differences of English and Hausa proverbs were stated. i.e. the forms, patterns, distributions and varieties of English and Hausa proverbs are similar with some little differentiations. Proverbs however, that are culture-bond are those that posed difficulties for learning and translation from Hausa language to English.Implications for pedagogy and curriculum developers were presented.This study recommended that the English and Hausa proverbs should be given adequate consideration so as to improve students‟ performance on the use of English proverbs.

ABBREVIATIONS

AbbreviationMeaning
L1First Language
L2Second Language
MTMother Tongue
CAContrastive Analysis
CLAContrastive Linguistic Analysis
ICAImmediate Constituent Analysis
TGGTransformational Generative Grammar
TESLTeaching English as a Second Language
SubjSubject
PredPredicate
NPNominal Phrase
VPVerbal Phrase
Adj PhrAdjectival Phrase
Adv PhrAdverbial Phrase
SVASubject, Verb, Adjunct
SVOSubject, Verb, Object
SVCSubject, Verb, Complement
SVOCSubject, Verb, Object, Complement
SVOCASubject, Verb, Object, Complement and Adjunct

DEFINITION OF OPERATIONAL TERMS

Form: This refers to the arrangement of or part, of words that follow correct ordering of English sentence pattern.

Pattern: Regular arrangement of sentence structures that strictly follows rules of sentence formation in English. I.e. (SVOCA), as well as the changing patterns of these sentence structures in Hausa language.

Distribution: The way and manner in which a proverb of a particular situation or register is used among a particular group of people.

Variety: This refers to the component of sentence element and their functional position that a linguistic unit can occupy in a sentence.

TABLE OF CONTENT

Title page i

Declaration ii
Certification iii
Dedication iv
Acknowledgements v
Abstract viii
Definition of Operational Terms ix
Abbreviations Used x
Table of Contents xi
CHAPTER ONE: Introduction
1.1 Background of the Study 1
1.2 Statement of the Problem 2
1.3 Basic Assumptions 2
1.4 Objectives of the Study 2
1.5 Research Questions 3
1.6 Research Hypotheses 3
1.7 Significance of the Study 5
1.8 Scope and Delimitation 5
1.9 Summary 5

CHAPTER TWO: REVIEW OF RELATED LITERATURE

1.1 Introduction 6
2.1 Proverbs in English Language 6
2.2 Definition of Proverbs 12
2.3 Origin of English Proverbs 10
2.4 Origin of Hausa Proverbs
2.4 Characteristics of Proverbs 11
2.5 Types of Proverbs 13
2.6 Proverbs and Context 15
2.7 Hausa Language and Proverbs 16
2.8 The Features of Hausa Proverbs 17
2.9 Types of Hausa Proverbs 20
2.9. Linguistic Basis of Contrastive Analysis 23
2.10 Contrastive Analysis and Applied Linguistics 24
2.11 Contrastive Analysis and Bilingualism 24
2.12 The Psycholinguistic Of Contrastive Analysis 25
2.13 Contrastive Linguistic Analysis in the Present Day 26
2.14 Models of Contrastive Linguistics Analysis 29
2.15.1 Descriptive Models 29
2.15.2 Traditional Grammar 29
2.15.3 Structural Grammar 30
2.15.4 Immediate Constituent Analysis (IC) 30
2.15.5 Transformational Generative Grammar (TG) 31
2.15.6 Functional Systemic Grammar 31
2.15.7 Sector Analysis 32

2.15.8 Communicative Model 33
2.15.9 Banathy’s Model of Contrastive 33
2.16 Wilson Model of Proverbs Translation: 35
2.17 Component of Wilson’s Model 36
2.18 Comparative Linguistics 37
2.19 Previous Studies of English and Hausa Proverbs 38
2.20 Theoretical Framework 39
2.21 Summary: Literature Review 39

CHAPTER THREE: Methodology

3.1 Introduction 40

3.2 Research Design 40

3.3 Population 41

3.4 Sampling Technique 41

3.5 Instrument 41

3.6 Procedure for Data Collection 42

3.7 Method of Data Analysis 42

3.8 Summary:Research Methodology 42

CHAPTER FOUR: Presentation and Analysis of Data

4.1 Introduction 43

4.2 Data Analysis 43

4.3 Description of English Proverbs 44

4.4 Description of Hausa Proverbs 48

4.5 Contrast between English and Hausa Proverbs 52

4.6 Contrasting English and Hausa Proverbs Using Banathy’s Model 55

4.6.1 Banathy’s (1968) Contrastive Model 55

4.7 Wilson Model of Proverb Translation 58

4.7.1Peaceful Living 58

4.7.2 Knowledge58

4.7.3 Patience 59

4.7.4 Honesty, Truth, and Objectivity 60

4.7.5 Caution 61

4.7.6 Precaution (Lura/Rigakafi) 62

4.7.7 Diligence (Himma) 62

4.7.8Contentment 63

4.7.9 Goodness and virtuosity 64

4.7.10 Amusing Merry Making and Enjoyable 65

4.7.11 Didactic, Adorning 66

4.7.12 Hierarchy 68

4.8 Prediction of Similarities and Differences 68

4.9 Similarities of English and Hausa Proverbs 69

4.10 Overall Findings 74

4.11 Discussions of Findings 74

CHAPTER FIVE: Summary, Conclusion and Recommendations

5.1 Introduction 80

5.2 Summary 80

5.3 Conclusion 82

5.4 Recommendations for Further Research 82

5.5 Implication for Pedagogy 83

5.6 Reference 84

CHAPTER ONE

Introduction

Background of the Study

This research intends to provide an analysis of proverbs as a way of examining the possible similarities and differences between English Proverbs and Hausa proverbs. This, it is hoped, would assist the reader in understanding the application of proverbial features in English and Hausa. The study is in line with aspects of comparative linguistics where systems of different languages are compared. According to Usman cited in Attat (2005:2):

Since we are dealing with comparative linguistics here, it might be adequate to explain that the phrase is used in two senses; it may simply mean that branch of linguistics concerned with comparison of various languages. In that sense, contrastive linguistics which aims at pointing out the typological similarities and differences between languages is part of comparative linguistics.

In the view of Amfani (2009), African languages can only be adequately classified, analyzed, and described if comparative approach is adopted by all stake-holders in the study of the languages. In this regard, many writers have written on the values of contrastive analysis and among such literature is Lado. (1957:2-3). According to him, the differences that may exist between languages could be the causes of difficulties that speakers of first language (L1) may experience while speaking the Second language (L2) (Lado 1957:2-3). Banathy‟s article on the potentials and limitations of contrastive linguistics analysis shares the same views with Lado (1969). These views show that knowing the linguistics and cultural elements of the first and second Language (L2) would help teachers focus more attention on the areas of need to be stressed. Also related to the study are the works of Nickel and Parren (1971) which are concerned with the contrast and similarities which can help in the study of applied linguistics and construction of language teaching courses.

Based on close observation, the presence of proverbial errors explains the students‟ inability to use appropriate proverbs, semantic categories and other linguistic units. Errors made by Hausa students while translating a proverb into English has become a source of concern .The research became interested in these problems as a result of classroom interaction, examining and marking of students‟ scripts (i.e.Neco and Waec) both in English and Hausa subjects.

In line with the above inspiration, comparative analysis of English and Hausa proverbs is important as it would enable the English as a second language teacher to understand the causes of errors committed by learners and which he would use to explain the implication of directly translating Hausa proverbs to English; consequently, this however may not always produce equivalent meaning because the two languages have different proverbial structures.

Contrastive analysis pre-occupies itself with two basic formulations namely, finding language differences and language similarities at the phonological, syntactic and lexical levels between two languages. These help to predict the learner‟s errors in the differences between the (L1) and (L2). Predicting the learners‟ errors will help researchers in language teaching to make assumptions about possible learning difficulties by anybody learning a second language. It is also expected that once the areas of potential difficulties had been mapped out through comparative analysis, it would be possible to design language courses more efficiently.

Statement of the Problem

Most Hausa learners of English as a second language erroneously assume that the two languages under study have common proverbial patterns and that there are no differences between proverbs in English and Hausa languages. These assumptions could be seen as a sweeping generalization that cannot be substantiated. By and large, this assumption creates some kind of confusion which makes learning, and interpretation of Hausa proverbs to English more difficult. The phenomenon of proverbs across languages is often more complex or intriguing than it is as first assumed. The situation is even more difficult to characterize when some assumptions have been made between English and Hausa proverbs.

Over a period of time, Hausa and English have co-existed in Nigeria. Both have been used as medium of instruction at different levels of education. However, only few studies have been carried out on what resemblances or differences the two languages manifest in the use of proverbs. Therefore, this research intends to identify those obstacles faced by Hausa learners of English in the areas of proverbs. Also, it intends to highlight and discusses the linguistic and cultural problems in translating the traditional arts forms, Hausa proverbs into English.

Basic Assumptions

It is assumed that difficulties could result where differences in the proverb pattern arise, especially where there are differences between the two languages. This may constitute a source of learning problems and misinterpretation of meaning.

Objectives of the Study

This study is concerned with comparative study of proverbs in selected English and Hausa written literary texts. The study is intended to achieve the following objectives.

1. Find similarities between Hausa and English proverbs.

2. Determine the differences that may exist between Hausa and English proverbs

3. Examine the areas of difficulties between English and Hausa proverbs.

Research Questions

This study raises and attempts to address the following research questions.

Q1. To what extend is English proverb similar to Hausa proverbs?

Q2. In what way is the English proverb different from Hausa proverb?

Q3. What difficulties do Hausa L1 speakers encounter when translating English proverbs to Hausa proverbs?

Significance of the Study

The selection of this research topic is a response to the various calls made by language specialists, linguists, and educationists, that there should be more research work done in the field of language both for academic and pedagogical purposes. The need for a comparative study of this magnitude is highlighted by Lado‟s assertion echoed by Alli (2008): that “…the most effective materials (that is for teachings are those that are based upon a scientific description of the language to be learned carefully contrasted with a parallel description of the native language of the learners.”

In addition to the above, the Fafunwa Educational Foundation Survey of Language Education in Nigeria (1998) among other things proposed that: “Further works should be continued and extended including Contrastive analysis between English and all other Nigerian Languages which are used as medium for instruction in the Nigerian schools.” However, this research would be more significant to contribute its quarter as significant aspect of language development. The first reason to study proverbs is that they are there as a part of language. Like idioms, proverbs form-meaningful units which must be included in any complete language description.

This study, therefore, is also a modest response to the appeals by those quoted above. The comparison of the two languages structurally and especially on how they lend themselves. Proverbs are envisaged to be of great value not only in facilitating the preparation for pedagogical needs but also in enhancing competence in language use and translation. Example, in translation, but more importantly in contributing to the refinement and validation of the linguistic theory itself.

Secondly, the study is significant in two fundamental ways. The findings from the study would be of immense use to the language learners and Hausa language researchers especially those dealing with English and Hausa proverbs. Closely related to the above is the fact that the study would be of tremendous help to the language teachers dealing with Hausa speakers of English who might find similarities between the two languages. Hence, the study is ultimately significant, for the procedures followed; the findings reached could be applied to study in some other languages apart from these.

Similarly, the research would benefit the textbook writers in the sense that it would reveal the need for reconsideration in the case of language use with particular emphasis on proverb use especially in situation where such was not applicable in the past, corrections would be done to improve usage and create more effect in production.

Also, the implementers of any curriculum or policy would find the work useful as it suggests avenues for managing the effects of the identified difficulties, thereby enhancing effective language proficiency of the pupils. Moreover, since this is an area in which functional researches need to be carried out, this work might prove significant in serving as part of the literature to be reviewed in further researches. Furthermore, it is hoped that the outcome of the current study would be a useful tool for general public who have interest in studying proverbs from Hausa to English language and vice-versa.

Most importantly, this study would be another contribution to the CLA between Nigerian languages and English which, as observed by Adeyanju, (1979:16) and Olaofe, (1982:22), “there was a great need for more CLAs in Nigeria languages”. Expressing his dismay on the low number of the English teachers, in English, that has received training in Contrastive Linguistic Analysis, Awobuluyi (1998) point to this fact.

To make matters worse still, most of the teachers have no training in Contrasting Linguistics and therefore are unable to understand and consequently devise effective pedagogical strategies for combating the mostly mother tongue induced kinds of learner errors that recur in their pupils‟ written and oral performances in the language. (Awobuluyi, 1998:9)

Furthermore, the current study is very significant to the language development of our nation. This is because it is a contribution to the language development and there is a close relationship between language, education and development. Pweddon (1997) observes that English is an economic necessity, in Nigeria, one need to be able to speak and write it well to succeed as an individual. This position was corroborated by Olaofe (1998:19) when he remarks that:

…there is a perceptible interdependence between education, language and development; development depends on education, which in turn, depends to a large extend, on language development. In fact, language stands rock solid in any educational system, especially because it is the medium by which educational concepts are imparted and learnt. (Olaofe 1998:19)

Oyetade (2003) strongly believes that language is an aspiration for national development and aptly describes it as a precious resource of a people, embracing their intellectual wealth, their view of the world, their identity and their verbal art.

Finally, in addition to the above statement, this exercise may add to the pool of language data made available by Contrastive Linguistic Analysis (CLA).

Scope and Delimitation

This study is limited to the areas of contrastive analysis of English and Hausa proverbs in selected texts. It aims at identifying the similarities and differences between proverb usages in the two languages using Wilson (2009) model of proverb translation and Banathy’s (1968) contrastive model. The choice of this model is set to described the fact that proverb is part of language that links all the other unit of language together, such as lexical, syntactic and semantic field of studies. Each unit of this proverb can be described on its own right.

Proverbs are the embodiment of many other parts of cultural heritage such as epithet (kirari), (habaici) and therefore, studying it will pave ways to all the rest, as it cut across other genres. i.e. poetry, prose and drama.

Summary

This Chapter among other things attempted to make a general introduction of the value of Comparative studies to second language teaching and learning. The chapter also, stresses the needs, inspirations and reasons for undertaking a research of this kind, its aims and objectives, its significance, scope and limitation etc.

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THE MILITARY IN SELFI ATHA’S EVERYTHING GOOD WILL COME AND NGOZI ADICIE’S PURPLE HIBISCUS

THE  MILITARY  IN SELFI ATHA’S EVERYTHING GOOD WILL COME AND NGOZI ADICIE’S PURPLE HIBISCUS
CHAPTER ONE
INTRODUCTION
1.1 BACKGROUND TO THE STUDY
Everything Good Will Come is about the coming-of-age of Enitan, the chief character, as she develops from a gripping aura of innocence to an assertive consciousness. Born into two tangled worlds – an unhappy home where father and mother are like cats and rats, and a country replete with political inconsistencies and instability – Enitan staggers her way through self-doubt into self-realisation and actualisation. The story dramatizes how Enitan manages to defy her childhood pre-conditioning of a failed marriage as characterised by her parents’ unending fight and misunderstanding.
 
Growing up, Enitan is torn between what is right for herself and what is right for her parent. Despite her privileged upbringing, a special treatment her father never ceases to refer her to later in the story, she is less of a happy child. But her unhappy state will soon transform into mirth, liveliness and self-belief when she becomes friend with Sheri, a girl of her age next door whose lifestyle is completely unalike to hers. Unlike Enitan, Sherri is free and spoilt, even though she is born into a polygamous family and a Muslim. Soon, Sheri’s behaviour earns her unwanted pregnancy as a result of rape, when she and Enitan go to Ikoyi Park to have some fun, without the knowledge of their parents.
 
After college Enitan goes to England for her law degree and soon returns for NYSC. She meets Mike, an artist and falls in love with him. Meanwhile, Sheri has become a housewife of one Brigadier and all her childhood aspirations of travelling round the world now dashed because she has to acquiesce only to the desires of her strict Muslim husband who believes that the place of a woman is her husband’s home.  Later she is compelled to move out of the house after engaging in a free-for-all with him. Enitan too, who has packed in with her after her discovery of her father’s and then Mike’s deceit and lies, has to leave for her mother’s place.
 
As the political tension in the country intensifies, there are coups upon coups; many people arrested, others’ whereabouts unknown; Enitan miscarriages, her father arrested alongside Peter Mukoro, his client, having petitioned the government for arresting the latter. Grace Ameh, a journalist, who now prints underground, is also arrested along with Enitan for their involvement in a reading session. Thereafter, they are released; and Enitan soon gives birth to Yimika. Fortunately for her, another coup leads to the suspension of the military junta and enthronement of democracy. Consequently, Sunny Taiwo, Enitan’s father is among the released detainees. The novel then ends with Enitan openly displaying her joy on her father’s release, as she goes to meet him.
 
Also, in the Ngozi Adicie’s Purple Hibiscus ,the novel is an amazing exploration of the psyche of a highly militarized society. It portrays the family as a microcosm of the larger society. The compelling narrative reveals the dynamics of group behavior in a militarized society, where many family units and interpersonal relationships at various levels are conditioned to re-enact the unhealthy pattern set by the political gladiators who use draconic rules to perpetuate themselves in power. The protagonist in this novel is portrayed as a tyrant with enormous power to crush every form of opposition. However, rebellion erupts from unlikely quarters and he eventually becomes a victim of the obnoxious system he had created.
Purple Hibiscus is set in South-Eastern Nigeria, but it captures the prevailing socio-economic and political climate in the country during the military regimes of Generals Ibrahim Babaginda and Sani Abacha with the ill contrived,’ Interim Government’ of Chief Ernest Shonekan in between. The dispensation covered reveals reigns of terror fraught with unpopular policies, blatant disregard for the rule of law, abuse of human rights, financial indiscipline, senseless killings and other atrocities. The prevailing socio-economic environment captured in the narrative, echoes the era of incessant industrial actions by labour unions and high cost of living-hyper-inflation, scarcity of fuel with long
unending queues at filling stations.
1.2  AUTHORS BIO DATA
 
1.2.1 Chimamanda Adichie’s Biography
Chimamanda Ngozi Adichie was born to Igbo parents, Grace Ifeoma and James Nwoye Adichie on 15 September 1977 in Enugu, Nigeria. While her family’s ancestral hometown is Abba in Anambra State, she grew up in Nsukka, in the house formerly occupied by Nigerian writer, Chinua Achebe.
The fifth of James Adichie’s six children, Chimamanda’s original and initial inspiration came from Chinua Achebe. After reading late Prof. Chinua Achebe’s “Things Fall Apart,” at the age of 10, Adichie was inspired by seeing her own life represented in the pages.
 
She once said, “I realized that people who looked like me could live in books.” Using that inspiration, Adichie has been writing about the Nigerian experience throughout her career. As mentioned earlier, she grew up in the house where the great icon and author, Chinua Achebe once lived. This may have also contributed to her motivation and passion to write.

1.2.2 Sefi Atta’Biography

 
Sefi Atta was born in Lagos, Nigeria, in January 1964, to a family of five children. Her father Abdul-Aziz Atta was the Secretary to Federal Government and Head of the Civil Service until his death in 1972, and she was raised by her mother Iyabo Atta.
 
She attended Queen’s College, Lagos, and Millfield School in England. In 1985, she graduated from Birmingham University. She qualified as a chartered accountant in England and as CPA in the United States. She is married to Gboyega Ransome-Kuti, a medical doctor, and son of Olikoye Ransome-Kuti. They have one daughter.
 
Atta’s Lagos-based production company Atta Girl supports Care to Read, a program she initiated to earn funds for legitimate charities through staged readings.
 
She currently divides her time between Nigeria, England and the United States.
1.3 STATEMENT OF PROBLEM
This research is set to examine the Military In Selfi Atha’s Everything Good Will Come And Ngozi Adicie’s Purple Hibiscus  in particular to address the issues of  militarization and its effect of citizen.
1.4  JUSTIFICATION OF THE STUDY
Many critical works have explored The  Military  In Selfi Atha’s Everything Good Will Come And Ngozi Adicie’s Purple Hibiscus.This study is different from the works that have been done before because it will bring a comparative analysis on the military government  in Atta’s Everything Good Will Come, And Ngozi Adicie’s Purple Hibiscus
 
1.5  OBJECTIVE OF THE STUDY
The objectives are to explore the various technique used by Sefi Atta and Ngozi Adichie to make statement on tyrannical government  today, and highlight the significance of such revelations on the plight of modern African society.
 
1.6 SIGNIFICANCE OF THE STUDY
 
The significance of this work Will Come lies within the historical perspective Sefi Atta uses to look at her character’s life. By being based in a true Nigerian culture and political atmosphere, this fictional story has relevance to the time period in which it is set. This relation between fact and fiction gives the reader insight to how likely and the effect politics could play a role within each character’s life. Although the focus is on the middle and upper classes, the unsettled government of the 1970s through 1990s is still well represented. The history of this novel follows Nigeria through a civil war and into the Second and Third Republic, all times of different political powers but connected through the character’s lives.
The research will also  make a critical exposition of several errors of perception, policy implementation at top government level in Nigeria lack of political will and commitments as well as failure to understand and appreciate the internal dynamics and nature of democratic governance in Nigeria. This study can also as inducement for the public interest in the fight against militarization.
1.7  SCOPE AND DELIMITATION OF THE STUDY
In this research, scope of study shall be on the theme The  Military  In Selfi Atha’s Everything Good Will Come And Ngozi Adicie’s Purple Hibiscus. The two novel is chosen because of its significance in the history and development of Nigeria. The study is centrally limited to assessing the thematic postulations of the novelist.
 
1.8  DEFINITION OF KEY CONCEPTS
Militarization: or militarisation, is the process by which a society organizes itself for military conflict and violence
Colonization :is a process by which a central system of power dominates the surrounding land and its components.
Tyranny: a state under cruel and oppressive government.
1.9  METHODOLOGY
The research is basically conducted under library review. The materials here are gathered from internet sources, library reviews, and critical content analysis of the text. The multifaceted approach affords the researcher a more balanced viewpoint on the subject under review.
1.10 THEORITICAL FRAME WORK: SOCIOLOGICAL APPROACH
1.10.1 ORIGIN OF THE SOCIOLOGICAL APPROACH
The field of sociology itself–and sociological theory by extension–is relatively new. Both date back to the 18th and 19th centuries. The drastic social changes of that period, such as industrialization, urbanization, and the rise of democratic states caused particularly Western thinkers to become aware of society. The oldest sociological theories deal with broad historical processes relating to these changes. Since then, sociological theories have come to encompass most aspects of society, including communities, organizations and relationships.
1.10.2 APPLICATION OF THE THEORY TO THE STUDY
A sociological approach to self and identity begins with the assumption that there is a reciprocal  relationship between the self and society (Stryker, 1980). The self influences society through the actions of individuals thereby creating groups, organizations, networks, and institutions. And, reciprocally, society influences the self through its shared language and meanings that enable a person to take the role of the other, engage in social interaction, and reflect upon oneself as an object. The latter process of reflexivity constitutes the core of selfhood (McCall & Simmons, 1978; Mead, 1934). Because the self emerges in and is reflective of society, the sociological approach to understanding the self and its parts (identities) means that we must also understand the society in which the self is acting, and keep in mind that the self is always acting in a social context in which other selves exist (Stryker, 1980).
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A MORPHOLOGICAL ANALYSIS OF ADICHIE’S PURPLE HIBISCUS

A MORPHOLOGICAL ANALYSIS OF ADICHIE’S PURPLE HIBISCUS

CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

The use of language is one of the most distinctive characteristics of the human species. Language is important to stylistics because it is a tool which obeys certain structural laws and which adapts itself to the requirement of the task for which it is used. It lends itself to creative manipulations that capture the changing dynamics of the society and the diverse linguistic needs of a writer, a set of systems from which he could make a choice to express his ideas. One major function of language is that it can easily lend itself to manipulative tools that can be used to condition people’s thoughts. It is language that is used to bring out the literary aesthetics of any creative work of literature. Word makes language and some words combine to deviate from the norm of language thereby attracting hearers’ and readers’ attention. This is mostly done in literature. One major way of relating language to literature is through stylistics.

Literature has often been conceived as a mirror of the society, as a reflection of life.  Events in the society are the raw materials which are utilized by the literary artists in the writing of their texts. Literature is anchored in a particular moment of time while the writer is a product of his environment. This is achieved through the use of language, which is mostly used in an unusual way or as a deviation from the norm of language use. Literature derives its creativity from language and this can be seen through stylistics which is a method of textual interpretation in which primacy of place is assigned to language.

Viewing style from different perspectives, one can conceive of style as the individual. This means no two writers can write exactly the same way; so each writer has a particular style of writing that is peculiar to him. Adichie has been acclaimed for her literary works due to her peculiarity in language use in passing across her massage of reconstructing society. This study, therefore, seeks to investigate the use of language in Adichie’s Purple Hibiscus from a stylistic approach.

1.2 Statement of the Problem

Scholarly studies on Adichie have attracted increasing interests in the literature in recent times, given her recognition as the new voice of Nigerian literature, who has already gained a measure of success that eludes many writers both within and outside Africa. Scholarship on Adichie’s works has generally shuttled between literature and linguistics. While studies from the literary perspective have generally dealt with the investigation of language as an aid to plot advancement, character presentation, thematic projection, and aesthetic achievement in her works, those from the linguistic angle have been limited to the investigation of the stylistic resources harnessed to realize her works.

This study, therefore, engages in the analysis of the morpho-syntactic features that characterize Adichie’s Purple Hibiscus in her use of language for communicative purpose.

1.3 Aim and Objectives of the Study

The aim of this study is to analyze the morpho-syntactic features of Adichie’s Purple Hibiscus, with the objectives of:

  1. carrying out a stylistic analysis of the text.
  2. discussing the morphological features in the text.

iii. highlighting the syntactic features of the text.

iii. examining the graphological features that foreground meaning in the text.

1.4 Delimitation of Study

This research comes under the purview of stylistics. Indeed, it may be daunting to try to attempt a stylistic analysis using all the checklists or aspects available in the literatures. This study will, therefore, be limited to such aspects as the morpho-syntactic features that characterize the writer’s linguistic choices, and the graphological patterns that foreground meaning in the text.

1.5 Methodology

1.5.1 Research Design

The study uses Content Analysis with focus on Stylistic Analysis approach in describing the use of language in Purple Hibiscus. In describing the morpho-syntactic features of the text, the study adopts Leech and Shorts’ checklists of stylistic analysis in the interpretation of the text because of its comprehensive nature. Thus, the morphological processes and the syntactic features in the text shall be identified and their function and significance to the overall interpretation of the text (i.e. foreground meaning) are described. The entire text has a total of 310 pages but the analysis shall be based on randomly selected pages where the necessary identified stylistic features abound; thus, the purposive random sampling technique will be adopted for this study. Library research will prove useful here as linguistic textbooks, journal articles and other useful sources of information on stylistics from the internet will be consulted.

1.5.2 Sources of Data

The data for this study is Adichie’s novel, Purple Hibiscus obtained from the bookshop around the University of Abuja. The data will include lexical items, utterances and graphic features that can be stylistically analysed to foreground meaning in the text. The secondary sources of information are materials from library textbooks, journals and the internet.

1.5.3 Data Analysis Technique

The data analysis technique is descriptive analysis of the morpho-syntactic features that foreground meaning in Adichie’s Purple Hibiscus. This study examines such aspects as the morpho-syntactic features that characterize the writer’s linguistic choices like word-compounding, clipping, blendings, loan words; syntactic violations, deviations, etc.

Under the morphological features, the process of word formation used by the writer which communicates special (stylistic) meanings to the interpretation of the text is discussed. The syntactic features of the text such as the phrasal, clausal and sentential types which enhance meaning are described.

1.6 Limitation of the Study

It is not every word in the text that will be used for analysis. Only those that reflect the researcher’s intention will be considered for analysis. The findings from this study may not be used to generalize Adichie’s writing style especially regarding other texts by the same author. Also, this study is constrained due to limitations in time resources.

1.7 Significance of the Study
This study is significant for the following reasons:

  1. The study is a revelation of the patterns and features of language use in Adichie’s Purple Hibiscus, especially in describing the morpho-syntactic features that underlie her linguistic choices and their relevance to the interpretation of the text.
  2. The research highlights the graphological patterns that help to foreground meaning in the text. These graphic elements that serve as visual aids to the encoding and decoding of the meaning of the language of the text are discussed.

iii. Also, the study shows that there is a semantic link or bond between linguistic elements and the visual or graphological elements used in the text, as both complement each other to decode meaning and interpretation. The study exposes the graphic patterns deployed in Adichie’s text to show their communicative or stylistic value as elements of foregrounding.

  1. Since stylistics cuts across both linguistic and literary fields, students, teachers and future researchers will benefit from this study in describing the linguistic aesthetics of Adichie’s writings, especially with regard to the morpho-syntactic features and graphological patterns that characterize her use of language. As such, the study is relevant as source materials for any literature review on Adichie.

REFERENCES

Abram, M.H. A Glossary of Literary Terms. Holt, Rinehart and Winston, 1981.

Adegbodu, A. “Graphology as a Signifying System in the University of Ibadan Official Bulletin”. In Atoye, R.O (Ed.) Papers in English and Linguistics, Vol. 9. 2008.

Adejare, O. A Systemic Text Linguistic Study of a Literary Idiolect. Heinemann, 1992.
……….. Language and Style in Soyinka: A Systemic Text-linguistic Study of a Literary Idiolect. HEB (Nigeria) Plc., 1992.

Adeyanju, D. “Season’s Greetings from a Cleric: A Stylo-Semantic Analysis of Pastor Adeboye’s New Year Compliments”. In Atoye, R.O. (Ed). Papers in English and Linguistics. Vol. 9, 2008.

Adichie, C. Purple Hibiscus. Kachifo Limited., 2004.

Akerele, C. “A Stylistic Analysis of Chimamanda Adichie’s Purple Hibiscus.” An Unpublished B.A. Long Essay, Niger Delta University, Wilberforce Island, Bayelsa State, Nigeria. 2007.

Alabi, T. A. “Phonolexical Foregrounding in Oduduwa and Sango as Samples of Traditional Religious Drama in Nigeria”. In Atoye, R. O. (Ed.). Papers in English and Linguistics. Vol. 9. 2008.

Alabi, V.A. “Lexico-Syntactic, Phonological, Morphological Patterns, Choices and Devices in Discourse.” O. Obafemi, G.A. Ajadi, V.A. Alabi (eds.). Critical Perspective on English Language and Literature. The Department of English, University of Ilorin, 2007, pp. 162-174.

Alo, M. Style in Language and Communication. Aeddy Link, 1998.

Babajide, A.O. “Of Style and Stylistics”. In Babajide, A.O. (Ed.). Studies in English Language. Enicrownfit, 2000.

Bauer, L. English Word Formation. Cambridge UP, 1991.

Bloor, T. and Bloor, M. The Functional Analysis of English. Arnold, 2004.

Borsley, B. Syntactic Theory: A Unified Approach. Edward Arnold, 1991.

Campsall, S. (2008) “Glossary of Linguistic Terms”
http://www.englishbiz.co.uk/grammar/mainfiles/grammaroa.htm. Retrieved 14th May, 2017.

Carter, R. “Directions in the teaching and study of English stylistics.” M. Short(ed.) Reading, Analyzing and Teaching Literature. Longman Group, 1988, pp. 1-17.

Carter, R. Style in the Language of Poetry. Longman, 1989.

Comrie, B. Aspects. Cambridge UP, 1976.

Cowper, E. A Concise Introduction to Syntactic Theory: The Government And Binding Approach. Chicago UP, 1991.

Crystal, D. An Encyclopedia Dictionary. Longman, 1992.

Crystal, D. The Cambridge Encyclopedia of Language. Cambridge UP, 1987.

……… The Dictionary of Linguistic and Phonetics. Blackwell Publishing, 2008.

Crystal, D and Davy, D. Investigating English Style. Longman, 1969.

Culicover, P. “Constraint on Co-referentiality”. Foundations of Language. 14, 1975, Pp.109-118.

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Music as Language of Communication: The Sound of Music

Music as Language of Communication: The Sound of Music

Introduction

This paper concentrates on the efficaciousness of music to the human psyche and its communicative inherence; it deliberates on its sonorous alluring effects in softening a heart that seems inflexible with its powerful suasions, as well as on its rhythmic harsh resonance in rebuffing an unacceptable behaviour in the society. Music as an art form, like every other arts, in spite of its particularity for organizing sounds, the supreme aim of music is to communicate to its audience, to project a musical discourse from a source (singer) to a recipient (listener).Aristotle postulated that music is one of the six elements of drama (tragedy) by saying that the “song-composition of the remaining parts is the greatest of the sensuous attraction” (93). Indeed the sensuousness of music has a strong pulling on listeners, and because it has consistently be part of the theatre.

The Sound of Music as a filmic medium, transported and adapted to the theatrical mediumon to the stage bears numerous communication elements.Hence if this topic should be typified under any performative or theatrical-genre, for the sake of nomenclature, considering the syncretization of dramatic features and musical features, better say, hybridization of drama and theatre, it then stands asa case of musical theatre.

Arts as the Fulcrum of Communication

It is an established phenomenon for centuries that all forms of arts have messages and aesthetically communicate to us in varying creative dimensions.Without arts, apparently there would be no communication. The whole gamut of arts, traditional and contemporary, encompasses activities as diverse as:

Architecture, music, opera, theatre, dance, painting, sculpture, illustration, drawing, cartoon, printmaking, ceramics, stained glass, photography, installation, video, film and cinematography, to name but a few (Art Glossary, Encyclopaedia of Art).

All the above forms of arts communicate to man but in differing medium. The performing arts which is commonly referred to as public performance events broadly consist of acrobatics, busking, dance, drama, marching arts (brass bands), music and many others, all communicate messages to their audiences in unique ways. The plastic and visual arts which have to do with painting, sculpture, film and photograph also communicate to us. One thing we cannot underestimate about the arts is the preponderance of its whole valuable messages pointing at, and feeding man. Speaking of the sole aim of the arts, Jack Bornoff unequivocally states that,  “the whole of the work of art, its all- embracing message, is directed at the whole man, his intellectual and spiritual being, his emotions-perhaps even to the subliminal” (20). Another undeniable feature of all arts is that they are imitational and representational, that is, they either imitate nature or represent reality, and their source is life and nature and social realities.

Hence focusing on the functionality of music as a performing art in theatre productions.The commonly known or conventional role of music in theatre production is the interlude (a musical composition inserted between the parts of a longer composition, a drama, or a religious service), such as the chorus in the Greek theatre; just to foreshadow and to fill in the “inaction” time of a dramatic plot, a fragmentary role to sum it up. John Russell Brown’s testimony about this is just as remarkable as he states that, “Music that is played or sung is signaled by stage directions, and its contribution to how the play works is usually limited to particular moments” (45). However, the place of music in the performing art is quite invaluable irrespective of the limited allotment usually given for its interlude role in the total theatre;John Russell Brown further throws more light on that “Music sustains its effect over longer time spans than words do, and, when sung by a particular character, it holds back other dramatic development for its duration” (45). This obviously points out the effective power of music; this intriguing feature of music is one vehement functionality that manifested in TheSound of Music on the live theatre at the Open Air Theatre, University of Abuja. If music could hold such magnitude of effect, how about when a whole play is like a collection or a piece of music? John Russell Brown also gives a smuganswer by stating that:

In a very surreptitious way, a whole play can be like a piece of music in performance, and when this happens an extra assurance is felt onstage and in the auditorium; everything seems intentional and to have power beyond the ordinary. Movements, then, become something like dance, seemingly inevitable and delicately meaningful (46).

When a whole play is fused with a combination of musicality and drama in its plot or narration it could be termed as scenic oratorio, musical play, scenic cantata, melodrama, music theatre or even total theatre.

Music Theatre

The Sound of Music on stage can be termed as a music theatre for the sake of genre classification. There is more than a question of semantics in the use of the term ‘music theatre’, as opposed to ‘opera’. Music theatre has become current in several decades among the more sophisticated public, mainly in German- speaking countries, as well as well embraced in Broadway contemporary American theatre.

What is music theatre? It can mean a production of a standard opera, which stresses its theatrical or dramatic aspect; as it can mean a work which eschews the classical musical forms of aria, ensemble, chorus, etc., in favour of the dramatic continuity. Music theatre is like a melodrama, a combination of dramatic recitation with speaking, dancing, singing and miming. According to Jack Bornoff, music theatre can be considered as  “mixed forms, used in various combinations and to varying degrees, which in our view make up the contemporary music theatre” (19). Wikipedia describes music theatre as “a form of theatrical performance that combines songs, spoken dialogue, acting and dance”. It further explicates that the story of musical theatre is somewhat emotional in content – humour, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole ( see Musical theatre, Wikipedia).

Background of the Sound of Music

On March 2, 1965, “The Sound of Music” premiered inside New York City’s Rivoli Theatre. Today, it remains one of the most popular films of all time. In inflation-adjusted dollars, the Oscar-winning movie remains the third-highest grossing film in history, trailing only “Gone with the Wind” and “Star Wars.” “The Sound of Music” was based on heroine Maria von Trapp’s 1949 book, “The Story of the Trapp Family Singers,” but the Hollywood treatment took some liberties with the true history of the von Trapp family, including the following eight ways.

The Hollywood of Sound of Music

Maria, a novice at a strict Salzburg convent, loves the majestic landscape of the Alps and often forgets about her religious duties and instead goes hiking on the mountains. The Mother Abbess, a very wise woman, thinks Maria might be better suited to life outside of the convent and decides to send her Captain von Trapp’s home to be the governess to his seven children.

When she arrives there, Maria is surprised at the military discipline which their father, a distinguished and widowed naval officer, exercises over his children and discovers that she is the latest in a long line of governesses that the children have driven away. Maria takes a different approach, instead of educating the children she introduces music into their lives. She teaches them how to sing, play and laugh and is rewarded with the children’s sympathy and love.

The children perform a puppet show for their father and this is where we see the blossoming love between the Baron and Maria for the first time. However, just a few days later the Captain presents Baroness Schroeder to his children as his fiancée. During a ball, the Captain and Maria perform a traditional folklore dance for the children and while they are dancing they discover their feelings for one another. Baroness Schroeder encourages Maria to leave the Trapp family home immediately and she flees back to the convent.

The children soon feel the loss of Maria and think about ways to make her come back meanwhile the Captain decides to marry Baroness Schroeder. Back at the convent Maria confesses her love for the Captain and the Mother Abbess makes her climb every mountain for her love. She hurries back to the Trapp’s family home only to find that the Captain has set his mind to marrying the Baroness. However, the Baroness sees the true love between the Captain and Maria and leaves. Maria marries the man she loves in the abbey where she was a novice accompanied by the seven children.

In a twist of fate, when they return from their honeymoon the Nazis have already seized occupation of Austria. The Captain plans to escape from enforced naval service and sees his opportunity: the whole family is to take part in a choral festival at the Salzburg Festival Hall. This is where the captain sings “Edelweiss”, an expression of his love for his country just hours before he has to leave it forever. The von Trapps make a dramatic escape after hiding out in the cemetery at the abbey.

Thematic Thrust

The movie centres on four outstanding themes and they are:

  1. Love
  2. Faith
  3. Sacrifice
  4. Relationship/marriage

The themes were dexterously captured in the stage version as will be seen in the following review.

The Sound of Music on the Live Stage: Music Communicating Dialogically

The play opens with a humming of the Sound of Music and the chorusing of the prominent Georg Friedrich Handel’s Hallelujah Chorusby all the nuns, save Maria who is missing. This opening heralds us into a conventicle setting of religion and a theatre that is musical. And so, Maria is nowhere to be found, all the nuns express their opinion by singing about Maria’s unwonted behaviour in the convent since she came, everything about her is totally unorthodox and adventurous.

The following songs by the Rev. Mother and the sisters speak volume about Maria’s outright escapades as a unique but odd figure at the convent and how everything about her seems a puzzle too difficult to solve:

Reverend Mother

She climbs a tree and scrapes her knee,

Her dress has got a tear,

She waltzes on her way to mass and whistles on the stair

And underneath her wimple she has curlers in her hair,

I have even heard her sing in the abbey.

All Sisters

She’s always late for chapel but her penitence is real,

She’s always late for everything except for every meal,

… But I very firmly feel ‘s not an asset to the convent

How do you solve a problem like Maria?

How do you catch a cloud and pin it down?

How do you find a word that means Maria?

A flibbertigibbet – a will-o ‘- the wisp – clown

Many a thing you know you’d like to tell her

Many a thing she ought to understand

But how do you make her stay and listen to all you say?…

This musical dialogue communicates in an intriguing fashion and perfectly summarizes the anti-convent character of Mariato the audience. Something extra-ordinary about how these songs are sung made the audience totally engrossed and attentive. We know that vocal music are words/language, the only variance is that they are expressed with the intricacy of the voice which apparently gives it a special aesthetics that captivates its hearers. However, in the case of The Sound of Music on stagewe enjoyed both the singing and the acting, and didn’t miss the kernel of the message about the person of Maria.

Therefore it is clear that Maria is a misfit that puzzles and a way solve that problem becomes the conflict that sets in the progression of the play. Maria comes back from the hills and the Reverend Mother tells her she needs to leave the convent for Captain Fredrick’s home, a widower with seven children that needs nanny to take care of the children. The captain is a stern and strict person who finds it difficult to keep nannies, he subjects his children to regimented lifestyle and does not take no for an answer. The Reverend Mother reveals all these to Maria, she hesitates but nevertheless submits to it if it be God’s will. Hence as Maria sets to leave for the Captain’s home, another music serves an interlude, but instead of the original one that Maria sings in the movie, the orchestra adapted and sang Darey’s Pray for Me, a song pregnant with meaning and quite timely for Maria’s situation:

Pray for me

gbadura fun mi

pray I find my way

k’oribamise

Oh forgive me father but I got to take a chance

Oh I’m already gone so just pray for me

The subtextual communication here basically points at what might befalls Maria at the Captain’s home, having been told of the kind of family she is to encounter there, the only thing that consoles her at this moment is prayer for things to work out successfully.

Thus she arrives the Captain’s home, she encounters the complex behaviour of the Captain, and the children who seem totally incorrigible and never show welcoming disposition to any nanny. In no time, she shows her distaste to Captain Fredrick’s manners towards raising children like soldiers or animals. She declares, “I could never answer to a whistle. Whistles are meant for animals and not for children, and definitely not for me.”The Captain finds out instantly Maria must have been a troublesome lady at the convent. A statement she conceives as truth about herself.

After Maria is introduced to the Children, she is left with what to do with them. The first thing she thinks of doing is to skillfully teach them how to sing, an act that the children appreciate, and which eventually makes them love Maria to the extent they cannot do without her presence.

This relationship betweenMaria and the children points at another fact that music can communicate comfort, boldness and confidence to man. Take for instance the scene where the children run to Maria as a result of their fear of thunder storm and rain:

Raindrops on roses and whiskers on kittens

Bright copper kettles and warm woolen mittens

Brown paper packages tied up with strings

These are a few of my favourite things

Cream coloured ponies and crisp apple, strudels, door bells and sleigh bells

And schnitzel with noodles, wild geese that fly the moon on their wings

These are a few of my favourite things

Girls in white dresses with blue satin sashes

Snowflakes that stay on my nose and eyelashes

Silver white winters that melt into springs

These are a few of my favourite things

When the dog bites, when the bee stings, when I’m feeling sad

I simply remember my favourite things

And then I don’t feel so bad

What does this music communicates? It points to us on how to deal with issues that bother us in life. The focus is that man does not need to bury himself in sorrow when he is faced with fearful and troubling matters rather he should take sometimes to recur some of the nice things or experiences of life. Remembering our favourite things and nicest experiences have a way of healing of pains and sadness. It is just like counting your blessing one by one. And this is exactly what Maria does with her music here and the children.

Another turn of event where music dialogue plays significant communication role is the scene where Raphael, the postman and Helen, Captain’s first child meet. In this scene Raphael uses singing to woo Helen, and she uses singing to accept him. In other words, music communicates love.

Captain Fredrick does not approve this turn of euphoric lifestyle for his family, and so he orders Maria to leave. As Maria is about leaving, he hears the children singing perfectly as the Princess brings them before him. This immediately spurs him to also sing along. It is a twist of fate as he pleads with Maria to stay back. The next line of action is a party scene where the Captain dances with Maria, it is a moment both discover they have feeling for each other, especially Maria, but her oath of allegiance at the convent forbids her not to even imagine love, and therefore, she decides to escape to the convent after the party.  This becomes a sad moment for the children. The father finds it impossible to console them even when he promises to get a new mother for them, because the forthcoming new mother it is not Maria but Princess. They cry out that they need Maria and not Princess, an act that bemuses and frustrates the Captain.No sooner as the father leaves than the children start to sing the above song to which Maria has taught them to sing whenever they afraid or bother by anything. And so as they begin to sing, Maria comes back amidst of the singing of My Favourite Thing and their joy is restored. Hence music serves as a force that resolves their quest for Maria.

The next intriguing role that music plays is in the proposing scene and wedding ceremony. Before the latter, we see how the Captain proposes and confesses his love for Maria with music, the lyrics of the song communicate the depth ofCaptain’s declaration to do anything to please Maria. This phase suffices the peak of the production with dexterous musicality by the orchestra. More than six songs are sung here, the most relevant ones are Joe’s R&B I Wanna Know, FelaKuti’s Trouble Sleep Yanga Wake Am, Fanny Crosby’s To God be the Glory and Flavour’s Ada Ada. All these music communicate so powerfully; the reveal the thoughts and feelings of the major characters. Take for instance Joe’s I Wanna Know which the Captain sings to Maria:

It’s amazing how you knock me off my feet, mmm
Every time you come around me I get weak, oh yeah
Nobody ever made me feel this way, oh
You kiss my lips and then you take my breath away
So, I wanna know

[Chorus]
I wanna know what turns you on (yeah, I’d like to know)
So I can be all that and more (I’d like to know, yeah)
I’d like to know what makes you cry (so)
So I can be the one who always makes you smile

[Verse 2]
Girl, he never understood what you were worth (hmm, no)
And he never took the time to make it work, no
(You deserve more lovin’, girl)
Baby, I’m the kind of man who shows concern, yes I do, oh
Anyway that I can please you, let me learn
So, I wanna know

[Bridge]
Tell me what I gotta do to please you
Baby, anything you say I’ll do
Cause I only wanna make you happy
From the bottom of my heart, it’s true
Tell me what I gotta do to please you
Baby, anything you say I’ll do
Cause I only wanna make you happy
From the bottom of my heart, it’s true

[Verse 3]
I wish that I could take a journey through your mind, alright
And find emotions that you always try to hide babe, oh
I do believe that there’s a love you wanna share, oh, oh
I’ll take good care of you, lady, have no fear, oh
So I wanna know

The Captain uses this music to express his unequivocal feelings of love to Maria and at the same time to find out from Maria what he can do to please her. He wishes to traverse across Maria’s mind and discovers whatever is in there, so he can be of help and take a good care of her. The above justices that music can vehemently be used to ask bothering questions on any kind of matter, from social to political or religion to philosophical. And finally, Fanny’s To God be the Glory and Flavour’s Ada Adaare used for the procession of the groom and the bride. The formal is used to acknowledge God who has made all things worked out fatefully for the Captain and his children, while the latter speaks of Maria’s beauty as well as all the good things that come with marriage.

Conclusion

Music is an art and a science that communicates, and what it communicates hinges on man, society and problems. It is either music decries the evils of men or eulogizes the heroism of men; it is either music wails about the ills and troubles of mankind or it brings hope and comfort the despairing state of men. Of a truth is a strong tool to effect even social change in our world just like music heals pains and breaks the rigidity of the Captain and hence softens his heart for love in the play.

References

Jacobus, A. Lee. The Bedford Introduction to Drama, 4th. Ed. Boston, Bedford/St. Martin’s. 2001. Print.

Brown, John Russel. What Is Theatre?: An Introduction and Explanation. Boston, USA, Focal Press, 1997. Print.

Bornoff, Jack. Music Theatre in a Changing Society: The Influence of the Technical Media, UNESCO, Belgium, 1968. Web.

Klein, Christopher. The History behind the Sound of Music. A & E Television

Networks. March 2, 2015. http://www.history.com . Sept. 3, 2016. Web.

“Musical Theatre.” Book Musicals. Wikipedia. https://en.wikipedia.org. 27 August, 2016. Web.

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