A PHONOLOGICAL ANALYSIS OF THE SOUND SYSTEM OF JABA LANGUAGE

A Study of Conjuncts and Cohesion in Chimamanda Ngozi Adichie’s The Thing Around Your Neck

CHAPTER ONE

INTRODUCTION

Background to the Study

The interpretation of a text is tied to the ability of the readers to not just make sense of the individual lexicon but also draw a connection between the groups of words, phrases and sentences into one meaningful unit. This may also require a background knowledge of the mental image being portrayed by the writer’s linguistic choices. Once the average reader is able to make sense of the individual word in relations to other words which brings meaning, ideas and understanding of the writer’s message, such a text may be considered to possess cohesion which may further bring coherence.

Every writer tries to communicate an idea or ideas and without certain linguistic elements, such idea may elude the reader who is not able to piece the ideas in the passage together probably due to insufficient use of cohesive ties or the lack of grammatico-semantic features which is the domain of functional grammar. Functional grammar focuses on meaning and treats grammar as a resource for language users in making meaning in a given social context. Thus, Larsen-Freeman (npn) in Liu and Jiang (62-63) suggests that “language form, meaning, and use should be approached as an integrated whole.” The three aspects of grammar are interwoven because “a change in one will involve a change in another” (Celce-Murcia and Larsen-Freeman 4).

In addition, lexico-grammar studies lexicon and grammar as two inherently connected parts of a single entity, challenging the traditional “wisdom of postulating separate domains of lexis and syntax” (Sinclair, 104). Francis (142) further explains that “a grammatical structure may be lexically restricted” and, conversely, lexical items are often grammatical in nature, for the use of a lexical item often has grammatical implications.

Many studies have investigated this close lexical and grammatical connection (Biberet al., 1998; Biber, Johansson, Leech, Conrad, & Finegan, 1999; Francis, Hunston, & Manning, 1996, 1998; Hunston & Francis) and cohesion is usually a part of such discourse. Cohesion therefore is one aspect of Lexico-Grammatical study, because it analyses the use of cohesive ties in a text to achieve meaning.

According to Laeli (9), the concept of cohesion is a semantic one; it refers to relations of meaning that exist within the text and that define it as a text. Cohesion occurs where the interpretation of some elements in the discourse is dependent on that of another. The one presupposes the other, in the sense that it cannot be effectively decoded except by recourse to it. When this happens, a relation of cohesion is set up, and the two elements, the presupposing and the presupposed, are thereby at least potentially integrated into a text.

Laeli (10) conceives of Cohesion as the formal aspect of language in discourse. It is a “syntactic organization”. Syntactic organization is the texts which are coherent and well-structured solid. Lexical cohesion is a guide to the organization of the flow of ideas in the text: Tracing groups of words with related meanings, one sees which semantic domains are used, to what extent and in what patterns.

Cohesion can also be defined as a set of resources of constructing relations in discourse which transcend grammatical structure. According to Martin J.R cited in Schiffrin (203), Cohesion is a part of the study of texture, which considers the interaction of cohesion with other aspects of text organization. Texture, in turn is one aspects of the study of coherence, which takes the social contexts of text into considerations.

Halliday and Hasan (5) state that like other semantic relations, cohesion is expressed through the strata of organization of language. Language can be explained as a multiple coding system comprising three levels of coding, or strata: the semantic (meaning), the lexico-grammatical (forms) and the phonological and orthographic (expressions). Meanings are realized (coded) as forms, and forms are realized in turn (recorded) as expressions. To put this simply, meaning is put into wording, and wording into sound or writing. For the writer to communicate with the readers, the corpus will require certain cohesive ties which help to elucidate meaning clearly for the readers.

Reference and conjunction are parts of the elements with which cohesion is achieved. Reference is the relation between an element of text and something else by reference to which it is interpreted in the given instance. Reference is a potentially cohesive relation because the thing that serves as the source of the interpretation may itself be an element of the text (Laeli 12).

Conjunction is a word that connects words, phrases and clauses in the sentence. Conjunction involves the use of lexicons in a way that the writer wants the reader to relate what is about to be said to what has been said before. Halliday and Hasan offer the specific relative conjunctive relation as those of and, yet, so, and then which used not just to turn, linking one speaker’s turn of the current speaker, or else marking a shift in topic or sub-topic (often with but). For examples: The student has studied hard. Yet he has not passed the examination/ Today, I have a meeting. So don’t be late.

Thus, it is true that cohesion occurs when there is a presupposed or another elements in a discourse. One element may immediately presuppose another element in the preceding sentence or in the following one. In this regard therefore, this study shall analyse Chimamanda Adichie’s The Thing around your Neck, using Halliday and Hassan’s framework on cohesion. The study shall analyse the use of References and Conjunctives as devices that connect sentences and paragraphs in the selected short stories in order to interpret their meanings.

Motivation for the Study

This study is first motivated by the researcher’s interests in the field of discourse analysis which looks out for meaning in any piece of discourse whether in text or speech. In other words, the motivation for this study is purely linguistic. Also, Chimamanda Adichie’s writings have been an influence for this researcher who hopes to thread her path someday in creative writing. Examining a discussion of the cohesive ties in Adichie’s short story collection will help this researcher and other readers to better interpret and appreciate the text under review.

Chimamanda Adichie’s The Thing Around Your Neck

Adichie’s third book is a collection of twelve short stories titled The Thing around Your Neck. It is written in 300 pages and was published in April 2009. The stories are set in Nigeria, America and Cape Town. Though the stories are not linked, a common thread runs through them. Some themes are religious fanaticism, religious and cultural clash between Christians and Nigerians, interaction between traditional religion and Christianity and married life. The Thing around Your Neck is rich with references to history, culture and literature.

The twelve short stories are:

• Cell One
• Imitation
• A Private Experience
• Ghosts
• On Monday of Last Week
• Jumping Monkey Hill
• The Thing Around Your Neck
• The American Embassy
• The Shivering
• The Arrangers of Marriage
• Tomorrow Is Too Far
• The Headstrong Historian

But, in this study, our analysis is restricted to the stories: The Thing Around Your Neck, The Shivering, The Arrangers of Marriage, Tomorrow is too Far and The Headstrong Historian respectively which have been randomly selected because of the themes they project. The study is restricted to these stories because of time and space constraint as well.

Statement of the Problem

The collection of short stories in The Thing around your Neck has been analysed using the literary tools by scholars. Oshodi, Adewale in 2010 titled her study “Nuggest in Chimamanda Adichie’s Cell One. Also, Banks, Ashley did “A Literary Analysis of The Thing around your Neck in 2012. This research will further contribute to the literature in Adichie’s short story by analyzing references and conjunctives as cohesive devices to ascertain meaning in the story. This is the problem to be solved in this study.

Aim and Objectives of the Study

The aim of this study is to ascertain how Chimamanda Adichie has used References and Conjunctives in The Thing around your Neck. This aim will be achieved through the objectives below:

i. It will identify and analyse the use of References in the selected stories.

ii. It will also, identify and analyse the use of Conjunctives in the selected stories.

Scope and Delimitation of the Study

This study covers the analysis of Chiamamanda Adichie’s short storycollection, The Thing around your Neck, using Michael Haliday and Ruqayyat Hassan’s framework on Cohesion as an approach. The short story collection contains 12 stories; but for convenience, the study analyses only five randomly selected stories: The Thing Around Your Neck, The Shivering, The Arrangers of Marriage, Tomorrow is too Far, and The Headstrong Historian.

Cohesive ties are categorized into five by Halliday and Hassan (reference, substitution, ellipsis, lexical cohesion and cohesive conjunctives) and only cohesive conjunctives which contain additive, adversative, temporal and result, and references are adopted for analysis in the current study.

Significance of the Study

This study is significant as it advances studies in Chimamanda Adichie’s fictional writings, contributing to the bulk of literature. Also, a study of the cohesive devices will help to shed light on elucidating the text, The Thing around your Neck. Future researchers and students will find this study useful as source materials for enriching their work and knowledge in references and conjunctions as cohesive ties. In sum, this work is significant for its contribution to knowledge.

Methodology

The study uses Halliday and Hassan’s framework on cohesion and cohesive ties to discuss excerpts from randomly selected short stories in the collection. The researcher analyses the excerpts to identify the conjunctives and references that feature in them and how these help to shed meaning to the story. After the analysis of the cohesive ties on the excerpts from selected stories, a tabular presentation of the identified cohesive ties (taxonomy table) was used to further show the type of cohesive ties that feature in the selected stories. This helps to also demonstrate the type of ties that feature most prominently in the text.

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A Critical Discourse Analysis of Threat: A Case Study of Asari Dokubo’s Utterances

Abstract

This study seeks to investigate the highly sensitive utterances of threat by Asari Dokubo in his struggle for the political and economic emancipation of the Niger Delta Region of Nigeria; utterances that clearly portray his ideological leaning. Our analysis is linked to Norman Fairclough(1995) as quoted in Horvath Juraj(2010) that texts portray ideology which in turns are ‘open to diverse interpretations’(Horvath Juraj:2010). Selected utterances of Dokubo are analyzed and the findings reveal his political and regional sentiments.

INTRODUCTION

Discourse analysis is generally an umbrella term for the many traditions by which discourse may be analysed. It is a critique of cognitivism that developed from the 1970s onwards, although it has its roots in the ‘turn to language’ in the 1950s (Woolgar, 1988). Whereas cognitivism speaks of objective, observable, knowable reality, on the other hand discourse analysis speaks of multiple versions of reality, multiple ‘truths’, which are constructed through texts, therefore there are correspondingly multiple versions of analyses. Here, language is viewed as a social performance or a social action – it is productive and constitutive (language both creates social phenomena and is representative of social phenomena). The method explores power relations from a critical standpoint in an attempt to make sense of the social world by providing new critical insights – a positive contribution to both theory and research.

According to Van Dijk (1998a) Critical Discourse Analysis (CDA) is a field that is concerned with studying and analyzing written and spoken texts to reveal the discursive sources of power, dominance, inequality and bias. It examines how these discursive sources are maintained and reproduced within specific social, political and historical contexts. In a similar vein, Fairclough (1993) defines CDA as discourse analysis which aims to systematically explore often opaque relationships of causality and determination between (a) discursive practices, events and texts, and (b) wider social and cultural structures, relations and processes; to investigate how such practices, events and texts arise out of and are ideologically shaped by relations of power and struggles over power; and to explore how the opacity of these relationships between discourse and society is itself a factor securing power and hegemony. (p. 135) To put it simply, CDA aims at making transparent the connections between discourse practices, social practices, and social structures; connections that might be opaque to the layperson. Critical discourse analysis (CDA) is a type of discourse analytical research that primarily studies the way social power abuse, dominance, and inequality are enacted, reproduced, and resisted by text and talk in the social and political context. With such dissident research, critical discourse analysts take explicit position, and thus want to understand, expose, and ultimately resist social inequality.

1.2 Critical Discourse Analysis

Critical Discourse analysis is a branch of Critical Linguistics which analyzes a text in connection with the social context of that text. Norman Fairclough(1989:24) sees it as ‘the whole process of social interaction in which a text is just a part’. It is the consideration given to a text in relation to the social context that surrounds it. The critical discourse analyst considers a text as an entity of the social and cultural relations that informed such a text. Van Dijk (2001) considers it to be ‘a type of discourse analytical research that primarily studies the way social power abuse, dominance, and inequality are enacted, reproduced, and resisted by text and talk in the social and political context’.
When analyzing a discourse, the speech act of an utterance is usually put into consideration. This goes to expose the intention of the speaker (illocutionary force) and the effects the utterance has on the hearer (perlocutionary act).

1.3 Theoretical Background

1.3.1 The Speech Act Theory

In this study, we shall adopt the speech act theory to analyze Dokubo’s utterances. The speech act theory introduced by a British language philosopher, J. L. Austin in 1962 in his ‘How to do things with words’ and further developed by American philosopher, J.R Searle concerns itself with the fact that the speaker’s utterances produce so much effects and consequences on the hearer. Keith Allen (2012) believes that the speech act as a pragmatic exercise is created ‘when Speaker makes an utterance U to Hearer in context C and must be interpreted as an aspect of social interaction.’ When an utterance is made, there is a meaning that is naturally attached to it which experts in pragmatics called the locutionary act. Again, it is a fact that when someone speaks, there is a force in him that makes him to produce such an utterance. This is considered to be the illocutionary act or illocutionary force. The utterance is made to achieve a certain effect or result on the hearer. This is the perlocutionary act. Searle claims that there are five major types of actions that human beings can performed by the use of language. They are: representative, declarative, directive, expressive and commissive. For the sake of this study, we shall particularly base our analysis on the commissive aspect of the speech act theory. This is a speech act theory which commits the speaker to some future course of action. This could be a threat, a promise, a vow, a bet, a guarantee, an offer, warning, etc. Dokubo’s utterances majorly fit into the category of threat. In social context, his utterances could be termed an incitement. Already, Dokubo understands very well, the schemata of his audience, in this case, Nigerians. He knows that each time he issues a threat, the chances are that, the unarmed Nigerians are either thrown into fear and confusion or his group (the Niger Delta militants) are reinforced and encouraged to take up arms against the state. John Gary Stobbs(2012) succinctly puts the idea of schemata theory thus: ‘there is a shared cultural, historical and social schema that is used by the speaker to create a common understanding of an ideology. The speaker will utilise the schemata of the hearer. By using shorter utterances, the speaker allows the hearer to form a coherent understanding. The short utterances are complete in themselves but also build towards an overall conclusion.’

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Internalized Racism. Longing for Whiteness in Toni Morrison’s “The Bluest Eye

Introduction

Race has been for a long time a problematic issue almost present at a large scale in everyday life, and since it has been an inevitable issue faced mostly by ‘black’ people, it has moved to touch different literary forms such as the novel. Toni Morrison’s The Bluest Eye, as a case in point, orbits around the theme of race in a thorough manner to the extent that it brings the reader closer to the inner psyche of the discriminated characters namely Pecola (the main character) and Cholly (the main character’s father). Toni Morison in her debut novel tackles racism in the context of 1940s just after the WW II. This period of time is characterized by the “Female Phase’’ which paved the way for the emphasis on the women’s psychology, their experiences and characteristics (Peter Barry 118). Drawing on the psychoanalysis of the French scholars of the 60s and 70s of the previous century, Toni Morrison has obtained a timely possibility to cleverly depict what is taking place inside the psyche of each character. One of these psychological issues is ‘Internalized Racism’. Internalized Racism is a self-oppressive attitude that assures the continuity of race among the racialized stratum of people, or in Kira Hudson Banks’s and Jadah Stephens’ terms, “Internalized racial oppression [is] the ways in which a member of a target group is in relationship with the dominant group’s ideology and the extent to which they accept their subordinate status as deserved, natural, and inevitable” (93). In other words, this debased view about the self is an accepted and a well-constructed ideology going hand in hand with the Whites’ standards and principles held on the basis of difference (Whites versus Blacks).

1. Stereotyping Blackness

Internalized racism is both an ideological problematic and psychological issue. It starts first as a social construct then it goes deeper and deeper to become an embedded and internalized issue—accepted and rarely questioned. That is to say, it is assured by “the acceptance of the negative societal beliefs and stereotypes about themselves” (Kira Hudson Banks and Jadah Stephens 94). The social touches on the construction of this self oppressive experience can be felt first and foremost in relation to beliefs and stereotypes. In The bluest Eye the color black is excessively linked to bad stereotypes such as ugliness, savageness, dirtiness among others.

The color black throughout the novel is associated with dirtiness and filthiness. It is given a bad image on the basis of social generalization which goes down from an old generation to a young one to stick profoundly to their mindset and attitudes. The niggers of the novel are far distanced from neatness and cleanness due to their skin color which is much more close to blackness. This stereotype is refashioned mostly at an early age as is the case in The Bluest Eye. White kids of the novel are inculcated into the belief that Niggers are dirty while Whites are neat and identifiable; they are marked by both whiteness and cleanness: “his mother did not like him to play with niggers. She had explained to him the difference between colored people and niggers. They were easily identifiable. Colored people were neat and quiet; niggers were dirty and loud” (Morrison 87).

This link which associates blackness with dirt and filthiness continues more overwhelmingly to reach people of color, and they adopt it as a natural fact. It becomes an internalized attitude even among blacks. In this regard, Frantz Fanon in his renowned book White Mask, Black Skins stresses that the youngsters are more likely to adopt “a white man’s attitude” and assume it is a sort of “sacrificial dedication” which is at the same time a self-oppression that batters their own race (114). Similarly, Pecola, Frieda and Claudia, who represent the young generation of people of color, go through the same sacrificial dedication of Fanon. They always regard dirty places as their place where they should belong; they hang out only in the filthy places and “could go up the alley and see what’s in the trash cans” (Morrison 26), being dressed in dirty clothes:

She looked at Pecola. Saw the dirty torn dress, the plaits sticking out on her head, hair matted where the plaits had come undone, the muddy shoes with the wad of gum peeping out from between the cheap soles… (Morrison 94).

On the other hand, blackness in the novel is a very identifiable standard on which white people could build a difference between brutality and gentleness. When Pecola, for instance, goes to the doctor to examine her pregnancy conditions, she is put under the white’s gaze that reduces Pecola’s humanity to a mere animality (a horse): “They [blacks] deliver right away and with no pain. Just like horses” (Morrison 124), and earlier when she visits the store , the storekeeper’ s humiliating glance turns her to nothing: “ He looks toward her …. he senses that he need not waste the effort of a glance”( Morisson 48). It stands clear, then, that Morrison tries to depict how prejudices held against African American community go farther to humiliate and turn them into ‘animals’ who are noteven worth looking at, as Weiqiang Mao and others assume, “For Morrison, white gaze would render blacks as merely low forms of animals”(25). In other words, “the black body was subhuman and didn’t deserve the rights of human beings” (Corrin Pinkney 94).

Besides, the black color, also, has been associated with ugliness; that is, the blacker a person is the uglier he/she becomes, and such a flawed relation is prevalent and accepted without questioning it. African American characters (namely Pecola) in The bluest Eye are “poor and black … they believed they were ugly… they had each accepted it without question” (Morrison 39); they are distanced from beauty on the basis of their possession of a black skin, curly hair and flat noses. These features, in Ela Przybyło’s opinion, “are essential to constructions of ‘difference’, ‘abnormality’ and ‘ugliness’”(7). In other words, being a black is a pretext to be marginalized and spotted as a different, abnormal person and thus ugly. Likewise, Pecola grabs this attitude by being exposed to the whites ‘dominant attitudes and taking them for granted. So, the image of beauty becomes always attached to whites’ features and facial appearance and distanced psychologically from blacks’, because The former are glorified and depicted “in positions of power” and superiority and their whiteness is a privilege, while the blacks who are “the marginalized group [are] often framed as inferior or less than the group in power [the whites]” (94).

2. Longing for Whiteness

Going through this cheap and stereotyped signification of blackness and its being deeply embedded in the psyche of blacks, the internalized connotations of whiteness on the other hand has been associated with positive images: beauty, freedom and superiority. Being affected by the dominant ideology of white people, blacks have become more integrated into the constructed longing for white beauty standards, and they have gained a strong willingness to become whites to the extend they prefer the white standards over theirs. In this vein Corrin Pinkney assumes that the preference of whiteness over blackness among blacks is just an ideology which is deeply rooted in their psyche: “The ideology that being white was better than being black became imbedded into the black psyche as a result of this treatment” (94), as stated, it is a result of the treatment of whiteness as a privilege and blackness as a demerit— this treatment constructs a preference of white values over blacks’ when it is compared with the mistreatment of the latter. In the novel the reader will learn that the people of color are stripped of all kinds of humanity and cast away from humane treatments, unlike white. For instance, the comparison that Pecola makes when she meets Maureen Peal at school is one way of constructing this eagerness after whiteness, her focus is laid mainly on what makes the less dark girl better than and superior to her; the brown girl is regarded “as rich as the richest of the white girls”, with expensive clothes and well treatment:

She enchanted the entire school. When teachers called on her, they smiled encouragingly. Black boys didn’t trip her in the halls; white boys didn’t stone her, white girls didn’t suck their teeth when she was assigned to be their work partners; black girls stepped aside when she wanted to use the sink in the girls’ toilets, and their eyes genuflected under sliding lids (Morrison 26).

As a result of this treatment, Pecola concludes that being less black or white is far better than being black. Her journey to the imaginary metamorphosis into a blue-eyed girl starts when she begins ‘worshiping’ white models like Shirley Temple and drinking a lot of milk from the white cup on the bottom of which the image of Shirley is drawn. In this respect Adrian Goldman assures that the constructed image of beauty is fashioned through media texts such as model’s postcards, social effects and comparative judgments, as he states, “Young women’s ideas of beauty are created in part by mediated images, interpersonal influences, and social comparison” (Adria Goldman 5).

This interpersonal influence is felt at a superficial level particularly when Pecola’s friends become aware of this adoration: “We knew she was fond of the Shirley Temple cup and took every opportunity to drink milk out of it just to handle and see sweet Shirley’s face” (Morrison 23), and also they are affected by Pecola ‘s adoration, and they learn later on how to love, adore and “worship” Shirley Temple as if she were a real temple, as Claudia blurts out in her narration: “It was a small step to Shirley Temple. I learned much later to worship her, just as I learned to delight in cleanliness, knowing, even as I learned, that the change was adjustment without improvement” (Morrison 23). Although she hated this model at first, her ideas changed later as a step to assimilate with white standards and thus stigmatize the black ones. However, in Claudia’s case, whiteness is also associated with having romantic relationships, that is, being white or at least having some white spots on her skin will assure her a partner or partners in the future: “My supply of ideas exhausted, I began to concentrate on the white spots on my fingernails. The total signified the number of boyfriends I would have. Seven” (Morrison 27). In other words, being too black is the worst luck one can have because it has become an internalized stereotypical fact among black communities that being too dark means too ugly and then no boy would approach them—a fact which is supported by the light-colored young girls’ ongoing and supportive stereotypes in the novel, such as Maureen’s conception of darker people: “I am cute! And you ugly! Black and ugly black e mos. I am cute!”” (Morrison 73). That is to say, even though Maureen belongs to a black community she stigmatizes others of a darker black color, forgetting that she is also a member of this community.

Also, the image of whiteness is regarded as a sweet thing. Alongside its constructed beauty, whiteness gains a ‘sweet’ connotation: the white people are sweeter than the black as Pecola and Claudia conceive it in their interactions with Whites:

Each pale yellow wrapper has a picture on it. A picture of little Mary Jane, for whom the candy is named. Smiling white face. Blond hair in gentle disarray, blue eyes looking at her out of a world of clean comfort. The eyes are petulant, mischievous. To Pecola they are simply pretty. She eats the candy, and its sweetness is good. To eat the candy is somehow to eat the eyes, eat Mary Jane. Love Mary Jane. Be Mary Jane” (Morisson50) (emphasis is mine).

Naming candy after a white model with ‘blond hair’, ‘smiling face’ and ‘blue eyes’ is to associate white, ‘beautiful’ people with sweetness, and to eat candy is “to eat the eyes” of white people and dream day in day out to some point where she cannot give up on dreaming nor succumb to praying:

Each night, without fail, she prayed for blue eyes. Fervently, for a year she had prayed. Although somewhat discouraged, she was not without hope. To have something as wonderful as that happen would take a long, long time. (Morrison 46)

So, being affected by this adoration and its psychological consequences, Pecola gives an ideal definition to beauty: to be beautiful is to have blue eyes.

Conclusion

By way of conclusion, Toni Morrison’s The Bluest Eye tackles the issue of internalized racism through a twofold inspection which examines the stereotyped conception of blackness on one hand, and the ideological conception of whiteness on the other. The black skin, throughout the novel, is stereotypically associated with ‘ugliness’, ‘dirt’ and ‘animality’, which is a view that goes deeply into the recess of Pecola’s, Frieda’s and Claudia’s psyche. Contrariwise, the white skin and blue eyes are ideologically idealized by connecting them with beauty, superiority, and sweetness. Thus, the black community of the novel goes around the adoration of white standards, and they neglect their beauty which dwells in celebrating their black race (negritude).

Works cited

Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. 3rd edition. New York: Palgrave Mcmillian, 2009.

Fanon, Frantz. Black Skin, White Masks. Trans. Charles Lam Markman. UK: Pluto Press, 2008.

Hudson Banks, Kira and Richard D. Harvey. ‘The Intersection of Colorism and Racial Identity and the Impact on the Mental Health’. Making Meaning, Internalized Racism, and African American Identity. Ed. Jas M. Sullivan & William E. Cross Jr.. New York: Suny Press, 2016.

Goldman, Adria. ‘Identifying Ugliness, Defining Beauty: A focus Group and Reaction of Ugly Betty’ . The Qualitative Report, Vol. 19, No. 10, 2014, pp. 1-19.

Mao, Weiqiang and Migquan Zhang. ‘Beloved and Oppositional Gaze’. English Language Teaching. China: CCSE, Vol. 02, No. 03, 2009, pp. 27-34.

Morrison, Toni. The Bluest Eye. New York: Vintage Books, 2009.

Pinkney, Corrin. ‘The Effects of Internalized Oppression on the Black Community’. Fall 2012 ENC 1102, 2012, pp. 94-100.

Przynbylo, Ela. ‘The Politics of Ugliness’. The politics and Aesthetics. University of Alberta, No. 16, pp. 1-26.

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