Codeswitching in Igbo-English Bilingualism

This study evaluates the Matrix Language Frame model of codeswitching with Igbo-English data and concludes that the data can indeed be considered a classic case of codeswitching, in that a Matrix Language can be clearly identified in bilingual clauses. It establishes this through both qualitative and quantitative analyses that make use of the typological contrasts between Igbo and English to uncover supportive evidence for the Matrix Language Frame model and its associated three principles: the Matrix Language Principle, the Asymmetry Principle, and the Uniform Structure Principle. The investigation goes one step further by using spectrograms and the analysis of vowel harmony between English free morphemes and Igbo bound affixes to demonstrate that two phonologies can co-exist in codeswitching and that codeswitching forms are essentially pronounced with a phonology that does not entirely resemble that of the Matrix Language variety. Furthermore, the study finds that the same language production mechanisms as detailed under the Matrix Language Frame model and its associated three principles underlie both single word and multi-word codeswitching. That is, the present study, like those before it adopting the Matrix Language framework (see Amuzu 2010: 277), underlines the importance of the assumptions underpinning the Matrix Language Principle: (1) that language production is modular; (2) that lexical structure is both complex and abstract; and (3) that languages in contact divide responsibilities in what they may contribute toward lexical structure during the production of mixed constituents. Moreover, the study finds that Igbo-English bilinguals can always sustain ready access to their mother tongue mental lexicon during online speech production and thus Igbo-English may duly be described as a ‘classic’ case of codeswitching.

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.