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IDEOLOGY AND DISCOURSE IN CHIMAMANDA NGOZI ADICHIE’S PURPLE HIBISCUS AND BEN OKRI’S STARBOOK
TABLE OF CONTENTS
Title Page ————————————————————————- i
Approval Page —————————————————————- ii
Certification —————————————————————- iii
Dedication ————————————————————————- iv
Acknowledgements —————————————————————- v
Table of Contents —————————————————————- viii
CHAPTER ONE: INTRODUCTION —————————————— 1
1.1 Background to the Study————————————————— 1
1.2 Statement of the Problem ————————————————– 4
1.3 Objectives of the Study —————————————————– 5
1.4 Significance of the Study ————————————————– 6
1.5 Scope of Study ————————————————————— 7
CHAPTER TWO: LITERATURE REVIEW ——————————– 8
2.1 Studies of Symbolism in Purple Hibiscus and Starbook ————– 8
2.2 Studies of Religious Fanaticism in Purple Hibiscus and Starbook— 22
2.3 Feminist Reading of Purple Hibiscus and Starbook —————— 26
2.4 Studies of Authoritarianism in Purple Hibiscus and Starbook ——- 30
2.5 Studies in Realism and Magical Realism in Purple Hibiscus and Starbook 34
CHAPTER THREE: CONCEPTUAL FRAMEWORK AND RESEARCH
METHODOLOGY————————————- 42
3.1 Concept of Ideology ——————————————————- 42
3.1.1 Kari Marx on Ideology —————————————————– 43
3.1.2 Karl Mannheim’s View of Ideology ———————————— 45
3.1.3 Paul Ricoeur’s Account of Ideology ———————————— 47
3.1.4 Raymond Geuss on Ideology ——————————————— 54
3.1.5 Jurgen Habermas’s Theory of Ideology ——————————— 56
3.2 Concept of Discourse —————————————————— 63
3.3 Types pf Discourse———————————————————- 66
3.4 Habermas on Discourse —————————————————- 66
3.5 Approaches to Discourse Analysis ———————————— 68
3.5.1 Conversation Analysis (CA) ——————————————— 69
3.5.2 Discourse Analysis (DA) ————————————————— 72
3.5.3 Critical Discourse Analysis (CDA) ————————————– 75
3.5.4. Feminist Poststructuralist Discourse Analysis (FPDA) ————— 80
3.5.5 Literary Discourse Analysis ———————————————– 84
3.6 Research Methodology—————————————————– 88
CHAPTER FOUR: ACTION ORIENTATION ————————— 89
4.1 Pursuit of Desire————————————————————- 89
4.2 Action and Self – understanding —————————————– 111
4.3 Action and Self – realization ——————————————— 119
CHAPTER FIVE: COLONIZATION AND REPRODUCTION OF
LIFEWORLD———————————————— 136
5.1 Pressures Impacting on Lifeworld—————————————- – 138
5.2 Dialogue and Breakdown of Cooperative Language Use————– 147
5.3 Dialogue and Reconstruction ———————————————- 151
CHAPTER SIX: CONCLUSION———————————————— 158
WORKS CITED ——————————————————————— 164
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
Ben Okri and Chimamanda Ngozi Adichie are renowned Nigerian fiction writers who have made their marks in the literary scene. Okri’s debut, Flowers and Shadows appeared in 1981 followed by five others in quick succession. His fifth novel, The Famished Road, published before Starbook earned him The Booker Prize award in literature and, like The Famished Road, Starbook is described as a profound work of literature. Similarly, Chimamanda Ngozi Adichie’s debut, Purple Hibiscus, published in 2006 won The Commonwealth Writers Prize. These works have been found worthy of serious attention that is why Adichie’s Purple Hibiscus and Okri’s Starbook have been selected for this research because of the universal acclaim they enjoy as literary works of art, attracting lots of attention from intellectuals and the reading public. Many critical works have been written on the two texts ranging from essays and commentaries to book-length studies. Some have read Purple Hibiscus as if Adichie were addressing them. Others have read it as a reflection of the leadership problem in Nigeria, during the regime of the military dictator, General Sani Abacha, thus giving it a sociological reading and interpretation.
Okri’s Starbook has also been read as an allegory of the slave trade in Africa. Some critics have also read it in relation to the magical aspect of realism. Looking at some of the readings and interpretations given to these two literary works, one wonders if these critics have not lost sight of the fact that what goes on in a literary work happens within the text and among the characters; the people of the book. If there is any resemblance between the literary text and the objective world, it is a probability. To understand a literary text is to see it as a creative work of art whose raw material is language. It is a product of language that is self-constituted. It is in the literary text that mythic thought and ideation take form thereby constituting an organic whole. This wholeness makes up its universe or cosmos which is not an objective reality but the world of the book. However, it is into the objective world that the literary text makes its way, unaccompanied, into the waiting hands of a ready reader. It then behooves on the reader to perceive it and interpret the mythic thought embedded in the fictional discourse. The search for understanding and interpretation is, therefore, a search for meaning from what the text says at the underside of discourse. Such meanings, which can vary from the perspective and ideas of the reader, can only be sought in the language of the text and not outside it.
IDEOLOGY AND DISCOURSE IN CHIMAMANDA NGOZI ADICHIE’S PURPLE HIBISCUS AND BEN OKRI’S STARBOOK
