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SECTION A: ANSWER ONE(1) QUESTION ONLY
(1)
The use of allusion in “Second Class Citizen” by Buchi Emecheta relates to the central theme of identity, culture, and the struggles of women in a patriarchal society. The novel explores the experiences of Adah, a Nigerian woman living in London, as she navigates the complexities of her identity and the societal expectations placed upon her.
Adah, the protagonist, is a complex character who embodies the struggles of women in a patriarchal society. Her experiences are shaped by her Nigerian culture and her life in London, where she faces racism and sexism. Through Adah’s character, Emecheta highlights the challenges faced by women of color in a predominantly white society.
Allusion is a literary device that references a person, place, event, or work of art outside the text itself. In “Second Class Citizen,” Emecheta uses allusions to reference Nigerian culture and British society. For example, Adah’s thoughts and experiences are often framed in relation to the societal norms and expectations of her Nigerian background and her new life in London. These allusions serve to highlight the tensions between Adah’s cultural heritage and her new environment.
The use of allusion in “Second Class Citizen” is significant because it allows Emecheta to explore the complexities of identity and culture in a nuanced and layered way. By referencing Nigerian culture and British society, Emecheta highlights the challenges faced by Adah and other women like her, who must navigate multiple cultural expectations and societal norms. The allusions also serve to underscore the themes of identity, culture, and belonging that are central to the novel. Through her use of allusion, Emecheta creates a rich and complex narrative that reflects the experiences of women of color in a way that is both personal and universal.
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(2)
Adah’s experience of motherhood in Buchi Emecheta’s Second-Class Citizen is intricately tied to the novel’s central themes of resilience, female empowerment, and the struggle against systemic oppression. Motherhood is portrayed not only as a source of profound love and responsibility but also as a catalyst for Adah’s determination to improve her and her children’s lives despite overwhelming hardships. Her maternal role is central to her identity and fuels her ambition to escape poverty and abuse, highlighting the sacrifices and strength required of a mother in a hostile environment marked by racism, sexism, and economic struggle.
Adah, the novel’s protagonist, is a young Nigerian woman who moves to London with her husband Francis and their children. From early on, she assumes the role of caretaker and provider, often single-handedly managing the household and the children’s welfare while Francis pursues his studies and increasingly neglects his familial duties. Adah’s background as a determined and educated woman contrasts with the traditional expectations placed on her as a wife and mother, and her experience in London exposes her to new challenges such as racial discrimination and inadequate childcare. Despite these obstacles, she refuses to relinquish her children to foster care, even when pressured by Francis and others, demonstrating her fierce protective instinct and commitment to their well-being.
All motherhood in Second-Class Citizen is depicted through the lens of sacrifice and struggle, reflecting the literary theme of maternal resilience. The novel uses motherhood as a narrative device to explore how Adah’s love for her children motivates her to resist subjugation and pursue independence. This literary focus on motherhood also parallels Adah’s artistic ambitions, symbolizing creation and nurturing in both personal and creative realms. The depiction of motherhood here is realistic and complex, showing both the joy and the limitations it imposes on Adah’s freedom and aspirations. The narrative illustrates the tension between motherhood as a source of strength and as a constraint on personal growth, a theme common in feminist literature addressing the intersection of gender and societal expectations.
The significance of this portrayal lies in its challenge to stereotypical and simplistic views of motherhood. Emecheta presents Adah’s maternal experience as a site of empowerment rather than mere victimhood. By foregrounding Adah’s unwavering dedication to her children amid adversity, the novel elevates motherhood to a form of resistance against social and patriarchal oppression. It also critiques the societal structures that marginalize immigrant women and deny them support, emphasizing the double burden of racism and sexism that Adah endures. Ultimately, the exploration of motherhood in Second-Class Citizen enriches the novel’s broader themes of identity, survival, and self-determination, making Adah’s maternal journey a powerful testament to the resilience of women in postcolonial contexts.
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(3)
In Alex Agyei-Agviru’s Unexpected Joy at Dawn, Paleo’s treatment of Nii is particularly interesting because it reflects the complex interplay of friendship, loyalty, and the harsh realities faced by immigrants caught in political and social upheavals. Paleo, though not extensively detailed in the summaries, appears as part of the network of relationships surrounding Nii, who is a Ghanaian immigrant struggling with personal loss, economic hardship, and the trauma of deportation. Nii’s experience, marked by the care for his sick wife Massa and his eventual imprisonment in a deportation camp, is intensified by the support and interactions he has with people like Paleo, who represent the broader community of displaced individuals navigating survival in hostile environments.
Nii Moses Tackie is the central character, a bank assistant manager in Accra whose life is shattered by his wife’s debilitating illness and the political expulsions that force him into exile and hardship. His background as a responsible family man and a principled individual who refuses to compromise his integrity (e.g., declining to pretend to be a husband for visa purposes) sets him apart as a figure of dignity amid adversity. Paleo’s treatment of Nii, therefore, can be interpreted as emblematic of the solidarity and tensions within immigrant communities, where trust and betrayal coexist, and survival often depends on complex social bonds.
The literary term relevant here is characterization, particularly how secondary characters like Paleo contribute to the protagonist’s development and the thematic texture of the novel. Paleo’s interactions with Nii help to illuminate Nii’s resilience and the socio-political context of the 1983 Ghanaian deportation from Nigeria. Through Paleo’s treatment—whether supportive, indifferent, or conflicted—the narrative explores themes of displacement, identity, and the struggle for dignity in exile. This characterization technique enriches the novel’s portrayal of Pan-Africanist ideals disrupted by nationalist policies, as well as the personal cost of such political decisions.
The significance of Paleo’s treatment of Nii lies in its reflection of the broader human condition under political duress and migration. It underscores the importance of interpersonal relationships in sustaining hope and resistance against systemic injustice. Paleo’s role, though not always central, symbolizes the network of human connections that shape Nii’s journey and highlight the novel’s critique of fractured African unity and the resilience of individuals caught in these fractures. This treatment deepens readers’ understanding of the emotional and social complexities faced by immigrants and the enduring quest for reunion and belonging, which is central to Unexpected Joy at Dawn.
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(4)
Alex Agyei-Agviru’s Unexpected Joy at Dawn employs irony as a powerful literary device to underscore the novel’s central themes of displacement, identity, and the painful contradictions of xenophobia within African societies. The irony in the narrative highlights the paradox of belonging and alienation experienced by the protagonist, Nii Moses Tackie, who, despite being born and raised in Ghana, is treated as a foreigner and subjected to discrimination and deportation. This situational irony—that Nigeria, a country Nii considers home by blood, declares him an alien—exposes the harsh realities of nationalist policies that undermine Pan-African unity and human dignity. Similarly, while Ghanaians express outrage at the mistreatment of their nationals in Nigeria through the press, in Ghana itself, Nii faces subtle but real exclusion, revealing the irony of a homeland that does not fully accept him either.
Nii Moses Tackie is a bank assistant manager whose life is disrupted by political expulsions and personal tragedy, including the illness and death of his wife, Massa. His sister, Mama Orojo, also plays a significant role, representing familial bonds strained by migration and xenophobia. The irony extends to other characters and situations: for instance, the man who defrauds Mama during her first flight to Ghana is later her husband and a legitimate gold dealer, illustrating the blurred lines between deceit and trust in their world. Another poignant example is Nii and his friend Aaron unknowingly seeking refuge in Mama’s house, a situational irony that emphasizes the dislocation and fragmentation caused by forced migration.
The literary term at play is irony, particularly situational irony, where the outcomes of events sharply contrast with what is expected. This technique is used to critique societal norms and political policies that contradict ideals of unity and justice. Through irony, the novel reveals the absurdity and cruelty of xenophobic practices, such as the Aliens Compliance Order and the retaliatory expulsion of Ghanaians from Nigeria, which fracture African solidarity. The irony also appears in verbal and dramatic forms, enriching the narrative by adding layers of meaning and emotional complexity, such as when characters’ hopes are dashed by systemic injustice or when readers know truths that the characters do not.
The significance of irony in Unexpected Joy at Dawn lies in its ability to deepen the reader’s understanding of the human cost of political and social exclusion. It exposes the contradictions between the ideals of Pan-Africanism and the realities of ethnic nationalism and xenophobia. By highlighting these ironies, Agyei-Agviru challenges readers to reflect on the consequences of intolerance and the fragility of identity in postcolonial Africa. The use of irony thus not only enriches the narrative’s emotional impact but also serves as a critique of the policies and attitudes that perpetuate suffering and division among African peoples.
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SECTION B: ANSWER ONE(1) QUESTION ONLY
(5)
The narrator’s experiences at the Liberty Paints plant in Ralph Ellison’s Invisible Man are deeply connected to the novel’s central themes of racial identity, invisibility, and the systemic oppression of Black Americans. The factory, which produces “Optic White” paint, symbolically represents the societal obsession with whiteness as purity and superiority. The narrator’s job involves mixing a small amount of black liquid into the white paint to achieve the “optic white” color, an ironic process that metaphorically illustrates how Blackness is paradoxically essential yet suppressed within a society that claims to value only whiteness. This experience reveals the absurdity and cruelty of racial hierarchies, where Black labor is necessary to maintain the illusion of white purity, yet Black individuals remain marginalized and invisible within that system.
The narrator is a young Black man who, after various struggles, finds employment at Liberty Paints, a factory emblematic of American industrial and racial dynamics. He works under Mr. Kimbro, a harsh supervisor, and Lucius Brockway, an older Black man who secretly controls much of the factory’s operation from the basement. Brockway, despite his critical role, is marginalized and mistrustful of the narrator, reflecting internalized oppression and competition within the Black working class. The narrator’s interactions with these characters and his experiences in the factory expose the complex layers of racial exploitation, where Black workers are both indispensable and disposable.
Irony is the key literary term used in this section of the novel. The situational irony lies in the fact that the purest white paint, “Optic White,” is made by adding drops of black liquid, symbolizing how Blackness underpins the very notion of whiteness in America, even as it is denied recognition or value. The narrator’s confusion about this process mirrors the broader confusion about racial identity and societal roles. The factory’s slogan, “Keep America Pure,” and the patriotic imagery contrast starkly with the racial discrimination and exploitation experienced by the Black workers, highlighting the hypocrisy of American ideals. Ellison uses this irony to critique the racialized social order and the invisibility imposed on Black individuals within it.
The significance of the narrator’s experience at Liberty Paints lies in its symbolic critique of racial injustice and the construction of identity in America. The factory serves as a microcosm of society, illustrating how Black labor is essential yet unacknowledged in maintaining the dominant white culture. The episode deepens the novel’s exploration of invisibility, showing how systemic racism forces Black individuals into roles that support a society that refuses to see them as fully human. This experience also foreshadows the narrator’s ongoing struggle for self-definition and recognition, making the Liberty Paints episode a crucial moment in his journey toward understanding the complexities of race, power, and identity in America.
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(6)
The fight between Ras the Exhorter and Tod Clifton in Ralph Ellison’s Invisible Man vividly illustrates the novel’s central themes of racial identity, ideological conflict, and the complexity of Black political movements. This confrontation symbolizes the clash between two divergent visions of Black empowerment: Ras’s militant Black nationalism, which rejects cooperation with whites and emphasizes racial purity and cultural roots, and Clifton’s involvement with the Brotherhood, an organization advocating interracial political activism and social change. The fight encapsulates the tension between separatist and integrationist approaches to racial justice, highlighting the fragmented nature of Black resistance in mid-20th-century America.
Tod Clifton is a charismatic and loyal member of the Brotherhood who supports the narrator’s efforts to combat systemic injustices in Harlem. He is portrayed as strong, cooperative, and committed to the Brotherhood’s cause, which seeks to organize the Black community within a broader, racially inclusive political framework. Ras, by contrast, is a fiery Black nationalist leader who vehemently opposes the Brotherhood’s interracial collaboration, viewing it as a betrayal of Black interests. His militant stance and refusal to compromise reflect a radical alternative to the Brotherhood’s more moderate tactics.
The literary term central to this episode is irony, particularly situational and dramatic irony. The fight occurs during a Brotherhood rally disrupted by Ras and his followers, leading to chaos and violence. Ras pins Clifton and draws a knife, ready to kill him, but ironically refrains because Clifton is “a fellow black man,” underscoring Ras’s complex code of racial loyalty despite their ideological differences. Ras’s speech during the fight accuses Clifton of betraying his race by working with whites and warns that the Brotherhood’s promises are false, claiming their money is “unclean” and suggesting Clifton is attracted to white women. This ironic moment reveals the contradictions within Black political struggles: while Ras condemns Clifton’s alliances, he cannot bring himself to kill him, highlighting the shared humanity beneath their conflict. The narrator’s intervention by striking Ras with a pipe adds another layer of irony, as it momentarily unites the opposing forces against a common threat of violence and repression.
The significance of this fight lies in its dramatization of the ideological battles within the Black community and the broader theme of invisibility and identity. It exposes the fragility and complexity of Black political unity, showing how competing visions can lead to internal conflict even as external oppression persists. Ras’s refusal to kill Clifton despite his vehement opposition suggests that racial solidarity coexists with political division. This episode also foreshadows the narrator’s growing disillusionment with the Brotherhood and the limitations of organized political movements. The fight thus serves as a pivotal moment that challenges simplistic notions of Black resistance and highlights the nuanced realities of race, power, and ideology in America.
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(7)
The central themes of Emily Brontë’s “Wuthering Heights” include the destructive nature of love, social class, and the complexities of human relationships. Heathcliff’s return significantly affects the marriage between Edgar and Catherine, highlighting the unresolved feelings between Catherine and Heathcliff and the tension that arises from their reunion.
Catherine and Edgar are two complex characters with distinct backgrounds and motivations. Catherine is torn between her love for Edgar, which represents social status and security, and her deep-seated connection with Heathcliff, which transcends societal expectations. Edgar, on the other hand, is a refined and educated individual who loves Catherine deeply but is unaware of the depth of her feelings for Heathcliff. Heathcliff’s return serves as a catalyst, exposing the cracks in the marriage and forcing Catherine to confront her true emotions.
The literary term “dramatic irony” is relevant to this discussion, as Catherine’s inability to reconcile her love for Edgar with her feelings for Heathcliff creates a sense of tension and foreboding. When Heathcliff returns, Catherine’s emotions are reignited, and she is forced to confront the reality of her situation. As Catherine herself says, “Whatever our souls are made of, his and mine are the same”. This quote highlights the deep connection between Catherine and Heathcliff, which cannot be erased by her marriage to Edgar.
The significance of Heathcliff’s return lies in its impact on the plot and character development. It exposes the flaws in Catherine and Edgar’s marriage, highlighting the societal pressures and expectations that led to their union. Furthermore, Heathcliff’s return sets in motion a chain of events that ultimately leads to the downfall of the characters, underscoring the destructive nature of unchecked emotions and the blurred lines between love and obsession.
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(8)
Wuthering Heights and Thrushcross Grange serve as powerful symbolic settings in Emily Brontë’s Wuthering Heights, embodying contrasting themes that drive the novel’s exploration of human nature and social conflict. Wuthering Heights represents wildness, passion, and emotional intensity, reflecting the turbulent and often destructive relationships of its inhabitants, notably Heathcliff and the Earnshaw family. Its physical description with narrow, deeply set windows, jutting stones, and exposure to harsh weather mirrors the harshness, isolation, and stormy emotions that characterize life there. The house’s dark, cold, and neglected atmosphere symbolizes the raw, untamed forces of nature and human passion, as well as bitterness and revenge that dominate the narrative.
In contrast, Thrushcross Grange epitomizes civilization, refinement, and social order. It is described as a bright, warm, and elegant home, filled with light, music, and luxurious furnishings such as crimson carpets and gold bordered ceilings. The Grange reflects the genteel, cultured, and polished qualities of the Linton family who reside there. This setting symbolizes calmness, social status, and the more controlled, civilized aspects of life, embodying themes of forgiveness, decency, and gentility. The contrast between the two places extends beyond architecture and atmosphere to the characters themselves: the Earnshaws and Heathcliff are passionate, strong willed, and often cruel, while the Lintons are polite, moral, and well mannered.
This stark opposition between Wuthering Heights and Thrushcross Grange is a literary device that dramatizes the novel’s central conflicts between nature and culture, passion and restraint, chaos and order. The settings mirror the inner lives of the characters and their social positions, reinforcing the theme of good versus evil. The “storm” of Wuthering Heights, with its wild emotions and vengeance, frequently threatens to overwhelm the “calm” and order represented by Thrushcross Grange. However, by the novel’s end, the peace and stability of the Grange ultimately prevail, suggesting a resolution of conflict through social and emotional reconciliation.
The significance of this contrast lies in its profound symbolic function, illustrating how environment shapes identity and behavior. Brontë uses these two settings not merely as backdrops but as reflections of the human condition, emphasizing how external surroundings influence and echo the characters’ passions, struggles, and transformations. The interplay between the stormy Heights and the serene Grange highlights the tension between untamed nature and societal expectations, making the novel a rich exploration of the complexities of love, revenge, and social class.
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