A Discourse Analysis of Selected Acts in Zulu Sofola's Wedlock of the Gods

Cite this article as: Butari, N., & Osayande, A. M. (2026). A discourse analysis of selected acts in Zulu Sofola'sWedlock of the Gods. Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 2(2), 315-326. https://doi.org/10.36349/sojolics.2026.v02i02.029

By

Prof. Nahum Butari

Department of English and Drama

Kaduna State University

nwunubete@yahoo.com, butari.upah@kasu.edu.ng

+2347036986799

&

Dr. Aderonke Modupe Osayande

Department of English and Literary Studies

Federal University Lokoja, Kogi State.     ronkeosayande@gmail.com         +2347031547157

Abstract

This study examines Zulu Sofola’s Wedlock of the gods as a work deeply rooted in the traditional and cultural practices of Nigeria, particularly those of the south‑eastern region. In order to achieve the purpose, it analyses selected acts from the play using the Sinclair and Coulthard (1975) Discourse Rank Scale model. It focuses on the acts which are identified and examined according to their types and communicative functions, highlighting how they contribute to plot progression and connect to the central themes of the play. Analysis from the twenty-six purposively selected extracts shows the effective application of the Sinclair and Coulthard model to a dramatic text, even though it was originally developed for classroom discourse. Eight acts were identified in the play, each performing communicative social functions that reveal how Sofola’s dialogue advances both the narrative and thematic depth of the work. The findings show that these acts (informative, directive, elicitation, contrastive, evaluative, frame, causative, focus) aid in understanding key themes such as love, revenge, retribution, and forced marriage. In conclusion, the study establishes that discourse analysis at the act level is a valuable tool for uncovering how language in drama reflects cultural values and deepens appreciation of African literary works. This confirms that the use of acts within the discourse rank scale is valuable in uncovering how language functions not only within dramatic texts but also as a mirror of societal values and tensions.

Keywords: Discourse, Analysis, Acts, Dramatic, Rank Scale 

1.0 Introduction

Wedlock of the Gods, written in 1972 by Zulu Sofola, has been examined from multiple critical perspectives for its rich thematic depth and cultural resonance in African drama. The play, a tragedy, explores the tensions between love, tradition, and societal expectations, set against the backdrop of Nigerian customs such as levirate marriage and mourning rites. Its compelling narrative and layered characters make it a valuable text for linguistic and discourse analysis. 

Zulu Sofola (1935–1995) was a Nigerian playwright, theatre director, and academic who made history as the first published female playwright in Nigeria and the first female professor of Theatre Arts in Africa. She wrote plays and her works are known for blending traditional African storytelling with modern dramatic techniques. Her plays often explore themes such as the clash between tradition and modernity, the role of women in society, and the use of power and authority. Some of her most famous works include Wedlock of the Gods (1972), The Wizard of Law (1975), and The Sweet Trap (1977). Through her writing, Sofola became a powerful voice in African theatre, using drama to reflect social realities and challenge cultural norms. 

1.1 Plot Summary of the Text

Wedlock of the Gods (1972) is a tragedy centered on Ogwoma, a young widow forced by her parents to marry Adigwu so they could use his bridewealth to treat their seriously ill son. Ogwoma despised Adigwu, as she loved Uloko, a man too poor to meet her parents’ demands. When Adigwu died suddenly from a swollen stomach, his mother, Odibie, refused to believe the death was natural and began quietly searching for proof. Tradition required Ogwoma to complete her mourning period and marry her late husband’s brother, Okezie, but instead she became pregnant by Uloko. The discovery of this relationship convinced her mother‑in‑law that Ogwoma and Uloko had conspired to kill Adigwu so they could be together. Consumed by grief and anger, she sought vengeance by killing Ogwoma. Uloko, devastated by her death, retaliated by killing Odibie before taking his own life. The play closes with the lovers’ tragic vow to continue their love beyond the earthly realm, symbolized by thunder and lightning in the heavens. 

2.0 Literature Review

The subsequent discussion is structured around two primary categories: conceptual and empirical reviews.

2.1 Contextual Review

Discourse is a broad and contested term in the humanities and social sciences, but in linguistic and stylistic studies it normally refers to stretches of language (spoken or written) that are longer than a single sentence and are organized to perform social actions (Sinclair & Coulthard, 1975). Jawoski and Coupland (2006) in Dalamu (2017) refer to discourse as a multi-dimensional discipline with overlapping definitions. This is as a result of the different perspectives from which scholars like Fairclough (1992), Johnstone (2008), and others have approached the concept. However, a consensual definition by these scholars is that discourse is “language in use”. Discourse Analysis is the study of language use beyond the level of isolated sentences, focusing on how meaning is constructed, negotiated, and interpreted within specific social and cultural contexts. It examines both spoken and written texts to uncover patterns of interaction, the relationship between language and power, and the ways in which communication shapes and reflects social realities. According to Fairclough (1992), discourse analysis explores how language both represents and constructs the world, often revealing underlying ideologies. Gee (2014) emphasizes that discourse analysis is concerned with how language enacts social activities and identities, highlighting the role of context in meaning‑making. Similarly, Schiffrin (1994) defines it as the study of language use across extended stretches of text or talk, focusing on coherence, cohesion, and the organization of interaction.

The central focus of discourse analysis, according to Simmons and Hawkins (2014), is the recognition that language serves as a vehicle that conveys the opinions of individuals, and reflects their understanding of the world. In this sense, language is not merely studied as a dynamic construct that shapes and is shaped by societal norms, values, and ideologies. Discourse analysis therefore refers to a general term for a number of approaches to analyzing written, spoken, or any semiotic event. The analysis of discourse therefore, is the analysis of language in use, and as such, cannot be restricted to the description of linguistic forms independent of the functions they perform within social contexts (Ibileye and Shaibu 2025). Collectively, these perspectives position discourse analysis as a multidisciplinary approach that bridges linguistics, sociology, anthropology, and communication studies to better understand how language functions in real‑world contexts.

2.2 Empirical Review

Over the years a lot of studies have been carried out on Wedlock of the gods by Zulu Sofola. One of such is Edem (2017) who examines culturation and acculturation as conflict-based ideologies in the text. With thirteen excerpts purposively selected from the text and analyzed using Fairclough’s Critical Discourse Analysis, the study unveiled the socio-cultural constructs on the female gender within a patriarchal structure. More findings from the analysis uncover the text as discourse practice that is intentionally designated to debunk the notion of females’ disabilities in a male-dominated society. Finally, through Sofola’s linguistic choices, and the discursive constitution of the oppressed character, Ugwuoma, the study establishes the text as a literary document that is meant to change a cultural order. The study concludes that Wedlock of the gods by Zulu Sofola is an awareness about the status of women and tradition, as well as reformation processes in post-colonial Nigeria.

Using Culpeper’s theory of Impoliteness, Osefiana and Emenike (2020) analyzed some selected extracts to investigate the impoliteness strategies deployed by characters to realize the thematic preoccupation of the play. The study shows that such impoliteness strategies as bald on record combined with sarcasm, positive impoliteness and sarcasm, as well as negative are deployed in the play. These strategies are mainly used to achieve affective functions since they are targeted at expressing anger and discontent. The study has implication for the understanding of the human emotion and how it triggers the use of impoliteness in human communication. While these studies are related in terms of the literary text being analyzed, divergence emanates from the focus of studies and the theoretical frameworks deployed in the various analyses.

3.0 Theoretical Framework

The theoretical framework for the study is the Discourse Rank Scale developed by Sinclair and Coulthard (1975). This model was originally designed to analyse classroom discourse, but over time, it has been applied to other forms of spoken and written communication. Drawing heavily on the hierarchical principles of M.A.K. Halliday's Systemic Functional Linguistics, the model organizes spoken interaction into a descending series of units, where larger units are composed of the units immediately below them. This influential research moved the field beyond abstract linguistic theory to the systematic analysis of language in its social context, offering a concrete method to examine how sequences of talk are structured and organized. Sinclair and Coulthard (1975) imagined the scale as a building made of stacked blocks, with each block representing a different size of talk. The entire building is the highest rank, with the smallest individual pieces forming the foundation. Like a building block, this hierarchical system reveals how the smallest vocalizations build up to create the full conversation. These rank scale includes lesson, transaction, exchange, move and act, which is the focus of this study. It can be a single word, a phrase, a clause, or a sentence that performs a function, such as asking a question, giving an order, or simply providing information. It is the smallest level of meaning, and these tiny conversational blocks are combined to form larger units (Sinclair and Coulthard, 1975). These include: directive, elicitation, informative, comment, causative, contrastive, focus, expatiate, additive, evaluation, accept, frame, hearing/check, illustrate, nominate, bid, prompt, react, reply, re‑state, demonstration, repetition.

Emphasis is placed on the act level in this study because it is the foundation upon which larger discourse structures are built. According to Sinclair and Coulthard (1975), acts are the “basic building blocks of discourse,” since they capture the immediate function of what a speaker says. Each act is purposeful: it may give information, ask a question, issue a command, or pass judgment. This model provides a crucial tool for understanding pedagogical and conversational dynamics and has been applied to other forms of discourse after its inception and has proven to be useful in understanding the hierarchical structures of discourse. The Discourse Rank Scale provides a lens for breaking down dialogue into manageable parts. It allows us to see how every single line in a play contributes to the unfolding of the story and the communication of cultural values. This makes it a suitable and effective framework for analyzing Sofola’s dramatic text. 

4.0 Methodology

This study adopts both qualitative and quantitative research methods, as it focuses on interpreting and understanding how language functions within the play Wedlock of the Gods, in a tabular form. The qualitative approach is appropriate because it allows for an in‑depth analysis of the meanings, functions, and thematic connections of the selected dialogue. A purposive sampling method is used to select only the acts from the play that are most relevant to the research objectives. These acts are then arranged in a table showing the act, its type, and its function.

4.1 Data Presentation and Analysis

The data presentation and analysis of the selected acts in Zulu Sofola'sWedlock of the gods are as follows:

S/n	Act	Type	Function
1	My son cannot die a shameful death. (p. 5)	Informative act	The speaker is stating a fact or belief from their perspective. It is a declaration of conviction as Odibei's statement shows her strong belief about her son's death and its circumstances, indicating her conviction that Adigwu's death is unnatural due to the circumstances surrounding it.
2	Adigwu died of a swollen stomach. (p. 6)	Informative act	It gives clarity on the circumstance surrounding the character’s death, which influences decisions and attitudes in Odibie.
3	True, but Ogwoma could not have killed her own husband. (p. 6)	Contrastive act	It agrees partly with what was said, but then challenges it, defending Ogwomaby stressing that it is unlikely she killed her husband.
4	I am looking for the medicine she used. (p. 6)	Informative act	States the speaker’s current action and purpose, hinting at suspicion and investigation.
5	What if there is no medicine . . .? (p. 6)	Elicitation act	It is framed as a hypothetical question to make the listener think about a scenario.
6	Then it is her harlotry that killed my son. (p. 6)	Evaluation act	The speaker is judging the woman’s behaviour as immoral (“harlotry”) and blaming it for the son’s death. This act passes a strong moral verdict meant to condemn her character and actions.
7	Impossible! (p. 6)	Evaluation act	Expresses a strong judgment or emotional reaction, rejecting an idea outright.
8	Don’t you see anything wrong in a woman being pregnant for another man while she is still in mourning for her dead husband? (p. 8)	Elicitation act	It is rhetorical because the expected answer is obvious to the speaker and assumes the listener should agree.
9	Look, a woman’s honour lies in her name and her sense of shame. (p. 8)	Informative act	It states a moral or cultural principle about the basis of a woman’s honour.
10	Couldn’t you have waited for the three months of mourning to pass before letting him in? (p. 8)	Elicitation act	It is rhetorical as it challenges the character's actions, expresses disapproval, and reinforcing cultural norms about mourning.
11	No matter how much a woman loves a man, the gods forbid what you have done. (p. 9)	Evaluation act	It is a moral judgment about the listener’s action, declaring it as a violation of sacred law.
12	Listen to me (p. 9)	Directive act	It instructs the listener to pay attention.
13	You were forced to marry Adigwu, we all know that, but this pregnancy is not a good thing. (p. 9)	Informative act	It is stating a fact/shared knowledge about the listener’s past.
14	Ogwoma, our people say that a man’s daughter is a source of wealth to him. (p. 9)	Informative act	It communicates a traditional value about the role and worth of daughters in the family.
15	You should have been happy that your money saved the life of your own brother. (p. 9)	Evaluation act	Judging the listener by criticizing the reaction by suggesting failure to feel or express the appropriate gratitude or joy.
16	Let the moon turn into blood (p. 9)	Directive act	It is a figurative, defiant statement signaling readiness to face extreme or unnatural consequences.
17	I am ordering you out of my son’s house. (p. 15)	Directive act	Asserts authority, commanding the listener to leave the house.
18	A man is not a man simply because he parades an okra sprout. (p. 15)	Evaluation act	It uses figurative language (“parades an okra sprout”) to criticise false displays of masculinity.
19	Your tongue is bad and your heart is a rock. (p. 18)	Evaluate act	It condemns the character’s behavior and attitude.
20	Men of Onowu family, I welcome you (p. 25)	Frame	It functions as a starter as it introduces the discussion by greeting the participants.
21	We had no money for these things, and I knew the type of family I belonged to. (p. 30)	Informative act	The speaker is giving factual information about his financial situation and awareness of his family's unwillingness to help.
22	Gently, men, gently… (p. 31)	Directive act	It is a request to calm the situation and prevent rough or aggressive behavior.
23	What often destroys you young men is rash and hasty action. (p. 36)	Causative act	It states a cause-and-effect relationship. It identifies something as the reason for a particular outcome.
24	Tell your rat that there is no bush she will run to that Odibei will not enter. (p 50)	Directive act	It gives command by threatening the target that escape is impossible and to intimidate into fear and submission.
25	Let me feel your power! (p. 52)	Directive act	It calls upon a deity to reveal or demonstrate its power, seeking spiritual intervention or support.
26	Ours is the wedlock of the gods. (p. 55)	Focus act	It declares and affirms that the love or union between the characters is divinely destined and unbreakable.

 

5.1 Data Analysis

The analysis in relation to the acts identified and the themes of the play is as follows:

5.1.1 Informative Acts

Acts 1, 2, and 4 (“My son cannot die a shameful death”, “Adigwu died of a swollen stomach”, “I am looking for the medicine she used”) are informative acts because they provide facts or beliefs about Adigwu’s death. These acts build the theme of revenge, as Odibei interprets these “facts” with suspicion and begins to search for the cause of her son’s death. 

Acts 9, 13, and 14 (“A woman’s honor lies in her name”, “You were forced to marry Adigwu”, “Our people say that a man’s daughter is a source of wealth”) are informative acts that highlight cultural values and Ogwoma’s forced marriage. They connect directly to the theme of forced marriage, showing how her family used her as a means of ensuring her brother’s survival. 

Act 21 (“We had no money for these things…”) is an informative act that links to desperation, as it reveals the poverty that forced Ogwoma’s father into making tragic decisions that shaped her fate.

5.1.2 Directive Acts

Acts 12, 16, 17, 22, 24, and 25 (“Listen to me”, “Let the moon turn into blood”, “I am ordering you out”, “Gently, men, gently”, “Tell your rat there is no bush…”, “Let me feel your power!”) are directive acts. These are commands or instructions. They connect to revenge (Odibei’s threats in Act 24), retribution (calling on the gods in Act 25), and love (Ogwoma’s determination in Act 16, showing her defiance despite the consequences). Directive acts also demonstrate how conflict escalates through orders and threats, intensifying the tension and driving the play toward its tragic resolution. 

5.1.3 Elicitation Acts

Acts 5, 8, and 10 (“What if there is no medicine…?”, “Don’t you see anything wrong…?”, “Couldn’t you have waited…?”) are elicitation acts. They are rhetorical questions that connect to retribution, because they imply guilt and prepare the ground for punishment. They also highlight forced marriage, since they remind Ogwoma of obligations she never chose. In addition, they reveal desperation, as they show the emotional pressure placed on her as a result of her forced marriage and her determination not to be hindered, no matter the consequence. 

5.1.4 Contrastive Acts

Act 3 (“True, but Ogwoma could not have killed her own husband”) is a contrastive act. It partly agrees with suspicion but then challenges it. This act connects to love, because it defends Ogwoma’s loyalty to her husband, and it also resists the accusations that fuel revenge.

5.1.5 Evaluative Acts

Acts 6 and 7 (“Then it is her harlotry that killed my son”, “Impossible!”) are evaluative acts that pass strong judgments on Ogwoma’s character and behavior. They connect to the theme of revenge, as Odibie condemns Ogwoma and fuels her determination to punish her, and also to retribution, since the judgments imply that Ogwoma deserves consequences for her actions. Act 11 (“No matter how much a woman loves a man, the gods forbid what you have done”) is another evaluative act that frames Ogwoma’s actions as a violation of sacred law, reinforcing retribution by presenting her behavior as punishable and intensifying revenge by deepening the anger directed at her.

Act 15 (“You should have been happy that your money saved the life of your own brother”) criticizes Ogwoma for not showing gratitude, highlighting forced marriage, since it reminds her that her marriage was used as a transaction to save her brother, and also showing desperation, as her father justifies the decision despite its tragic impact on her life. Act 18 (“A man is not a man simply because he parades an okra sprout”) uses figurative language to criticize false masculinity, linking to retribution, as it exposes flaws in character that lead to downfall, and to revenge, since it is spoken in a confrontational context. Finally, Act 19 (“Your tongue is bad and your heart is a rock”) condemns the character’s harshness and cruelty, connecting to revenge, as it escalates conflict through insult, and to desperation, since such judgments reflect the heightened emotions driving the tragedy forward. 

5.1.6 Frame Act

Act 20 (“Men of Onowu family, I welcome you”) is a frame act. It marks the beginning of a formal family meeting called by Ogwoma’s father to address the conflict caused by Ogwoma's infidelity. This act connects to the theme of retribution because the gathering provides a communal space where the family can deliberate on the consequences of Ogwoma’s actions and decide on appropriate measures. By starting the meeting this way, the play shows how a private problem becomes a family issue, where personal choices are judged and resolved by the whole community.

5.1.7 Causative Act

Act 23 (“What often destroys you young men is rash and hasty action”) is a causative act. It shows cause and effect. This act connects to retribution, because it explains how impulsive actions lead to destruction. It also reflects desperation, since rash decisions often come from pressure and urgency.

5.1.8 Focus Act

Act 26 (“Ours is the wedlock of the gods”) is a focus act. It highlights the theme of love, affirming Ogwoma and Uloko’s union as divinely destined. But it also links to retribution, because their defiance of custom leads to their tragic deaths. It shows how love and tragedy are inseparably tied in the play.

6.0 Discussion of Findings

The analysis of selected acts from Wedlock of the gods reveals that Zulu Sofola employs a wide range of acts — directive, informative, elicitation, causative, evaluative, frame, contrastive, and focus — to drive the play’s thematic depth and emotional intensity. These acts are not merely structural devices; they are functional tools that bring to light the play’s central themes of forced marriage, revenge, retribution, desperation, and love.The informative acts expose the realities of Ogwoma’s forced marriage and her family’s poverty, showing how economic hardship compels individuals into tragic decisions. This highlights the theme of forced marriage, where women are treated as transactional objects rather than autonomous individuals. In society, this reflects the dangers of prioritizing financial survival over personal freedom, a practice that continues to affect women in many cultures. 

The elicitation acts, as found in the text, are framed as rhetorical questions, and they imply guilt and reinforce cultural expectations. They connect to retribution, as they set the ground for punishment, and also to desperation, since they reveal the emotional pressure Ogwomafaces. These acts mirror how societies use questioning and shaming to enforce conformity, showing the destructive impact of communal judgment on individual choice. 

The evaluative acts pass moral judgments that intensify conflict. Odibie’s condemnation of Ogwoma links directly to revenge, as grief is transformed into anger and violence. At the same time, these judgments reinforce retribution, since they frame Ogwoma’s actions as deserving punishment. In a broader social sense, evaluative acts reflect how communities often stigmatize women for breaking cultural norms, perpetuating cycles of blame and exclusion. 

The directive acts escalate conflict through commands and threats, connecting to revenge (Odibie’s threats), retribution (calling on the gods for punishment), and love (Ogwoma and Uloko’s defiance in declaring their determination). These acts show how authority and power are exercised through language, reflecting the way societies use commands to control behavior and enforce tradition. 

The frame act marks the beginning of a family meeting, linking to retribution by showing how private conflicts are absorbed into communal judgment. This reflects the societal implication that personal choices are rarely private in traditional settings; instead, they become matters of public accountability, where families and communities decide outcomes. 

The causative act highlights the consequences of rash decisions, connecting to retribution and desperation. It underscores the idea that actions have inevitable outcomes, a lesson that resonates in society by warning against impulsive decisions driven by pressure or emotion. 

The contrastive act defends Ogwoma against accusations, linking to love by protecting her loyalty and resisting suspicion. This act reflects the societal need for voices of reason and fairness, even in the midst of communal anger, showing how alternative perspectives can challenge dominant narratives. 

The focus act crystallizes the theme of love, as Ogwoma and Uloko declare their union to be divinely destined. Yet it also foreshadows retribution, since their defiance of custom leads to their tragic deaths. This act reflects the societal tension between individual desire and communal tradition, showing how love can be both celebrated and punished when it challenges cultural norms. 

The findings suggest that Sofola’s use of these acts is not only artistic but also socially instructive. The play critiques practices such as forced marriage, communal judgment, and the silencing of women’s choices, while also exposing the destructive consequences of revenge and desperation. It warns society about the dangers of certain traditional practices, particularly gender inequality, where men are given more priority and importance than women. At the same time, it elevates love as a powerful yet tragic force, reminding audiences of the heavy cost of defying oppressive norms. 

Overall, Sofola’s strategic use of varied acts deepens the portrayal of cultural conflict, emotional struggle, and the tragic inevitability of the lovers’ fate. This confirms that the use of acts within the discourse rank scale is valuable in uncovering how language functions not only within dramatic texts but also as a mirror of societal values and tensions. 

7.0 Conclusion

Act in the Sinclair and Coulthard’s Discourse Rank Scale (1975) has proven to be a valuable analytical framework in examining Zulu Sofola’sWedlock of the gods. By extracting selected acts in the play’s dialogue, this model has enabled a systematic identification of the communicative functions embedded within the text. This approach has not only illuminated the structural organisation of the selected acts but has also revealed how these acts contribute to the unfolding of the plot, the shaping of character relationships, and the reinforcement of the play’s central themes of love, tradition, and conflict. By focusing on the act level, this study is able to show how Sofola’s characters in Wedlock of the Gods use language to command, question, accuse, defend, or explain. This approach makes it possible to connect the smallest units of dialogue to the larger themes of the play, such as forced marriage, revenge, retribution, desperation, and love. 

The findings from this study demonstrate that the act is versatile and adaptable, extending beyond its traditional application in classroom discourse to the analysis of dramatic texts. Its use here underscores the model’s capacity to capture the dynamics of interaction in a literary context, where dialogue serves both as a vehicle for artistic expression and as a reflection of cultural and social realities. Ultimately, this research affirms that applying discourse analysis tools such as the Discourse Rank Scale to drama enriches our understanding of how language functions within a performative medium. It bridges the gap between linguistic structure and literary artistry, offering fresh insights into the interplay between form, function, and meaning in African theatre.

By focusing on the act level, this study is able to show how Sofola’s characters in Wedlock of the Gods use language to command, question, accuse, defend, or explain. This approach makes it possible to connect the smallest units of dialogue to the larger themes of the play, such as forced marriage, revenge, retribution, desperation, and love. 

References

Anana, M. (2024). A discourse analysis of blind spots in Sinclair and Coulthard (1992) model of classroom discourse. International Journal of English Language and Literature Studies, 13(3), 464–477. https://doi.org/10.55493/5019.v13i3.5195

Christie, F. (2002). Classroom discourse analysis: A functional perspective. Continuum.

Dalamu, T.O. (2017). A discourse analysis of language choice in MTN and Etisalat advertisements in Nigeria. (Doctoral dissertation, University of Lagos).

Edem, S. (2021). Culturation and acculturation as conflict-based ideologies in Sofola’s Wedlock of the gods: A critical discourse perspective. Dutsin-Ma Journal of English and Literature (DUJEL), 4(2), 188-203.

Eggins, S., & Slade, D. (1997). Analysing casual conversation. Cassell. 

Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Harvard University Press. 

Heritage, J., & Greatbatch, D. (1991). On the institutional character of institutional talk: The case of news interviews. In D. Boden & D. H. Zimmerman (Eds.), Talk and social structure, 93–137. Polity Press.

Ibileye, G., & Shaibu, B. B. (2025). Current trends in discourse analysis. Swaranjali Publication.

Labov, W. (1972). Language in the inner city: Studies in the black English vernacular. University of Pennsylvania Press. 

Oseafiana, S.E., & Emenike, D. (2020). A pragmatic analysis of impoliteness in Wedlock of the gods by Zulu Sofola. International Journal of Research and Innovation in Social Science (IJRISS), 4(7), 591-597.

Roberts, C., & Sarangi, S. (2005). Theme-oriented discourse analysis of medical encounters. Medical Education, 39(6), 632–640. https://doi.org/10.1111/j.1365-2929.2005.02105

Searle, J. R. (1976). A classification of illocutionary acts. Language in society, 5(1), 1–23. https://doi.org/10.1017/S0047404500006837

Sinclair, J. M., & Coulthard, R. M. (1975). Towards an analysis of discourse: The English used by teachers and pupils. Oxford University Press.

Sofola, Z. (1972). Wedlock of the gods. Evans Brothers (Nigeria Publishers) Limited.

Ventola, E. (1987). The structure of social interaction: A systemic approach to the semiotics of service encounters. Frances Pinter.

Verschueren, J. (1998). Understanding pragmatics. Arnold.