Abstract

This article discusses an analysis that examined how Olamide Adedeji (whose stage name is Olamide), a popular Nigerian hip-hop artiste, uses his album Omo Abule Sowo (Abule Sowo means someone who can literally make money out of anything) as a rejoinder to people's views about him. The objectives of the analysis were to determine the ideologies encapsulated on the album, describe the pragmatic acts, and identify the devices deployed in achieving his goal. Norman Fairclough's approach to critical discourse analysis (CDA), complemented by Jacob Mey's pragmatic acts theory, served as the theoretical framework. The album was purposively selected because of its thematic relevance. The descriptive research design was adopted. The song text was subjected to pragmatic analysis which revealed that Olamide utilises hedonistic and supremacist ideologies; he deploys the practs of asserting, informing, mocking, warning and threatening; he attacks his unnamed detractors pungently while stressing his own invincibility; he tactically utilises similes, metaphors, allusion and code alternation; he deploys traditional and modern imagery to cater for old and young listeners; he uses mainly call-and-response in presenting the song; and he deploys the members’ resources of the Yoruba artistically to ward off attack and instil fear in his enemies.

摘要

本文讨论了一项分析，该分析检查了尼日利亚流行的嘻哈艺人 Olamide Adedeji（艺名是 Olamide）如何使用他的专辑Omo Abule Sowo ( Abule Sowo指可以从字面上赚钱的人）作为对人们对他的看法的反驳。分析的目的是确定专辑中包含的意识形态，描述务实的行为，并确定为实现他的目标而部署的设备。Norman Fairclough 的批判性话语分析（CDA）方法，辅以 Jacob Mey 的语用行为理论，作为理论框架。这张专辑是有目的地选择的，因为它的主题相关性。采用描述性研究设计。对歌曲文本进行语用分析，发现奥拉米利用享乐主义和至上主义意识形态；他部署实践断言、通知、嘲笑、警告和威胁；他在强调自己不可战胜的同时，严厉地攻击他的无名批评者；他巧妙地使用明喻、隐喻、典故和代码交替；他运用传统和现代意象来迎合老少听众的需求；他主要使用呼叫和响应来呈现歌曲；他巧妙地利用约鲁巴人的资源来抵御攻击并给敌人灌输恐惧。