scholarly journals Graphic hybridization of modern French vocabulary

2019 ◽  
pp. 82-89
Author(s):  
H. H. Kriuchkov
Keyword(s):  
Hip Hop ◽  
Fast Food ◽  
Crack Cocaine ◽  
American English ◽  
Punk Rock ◽  
Loan Words ◽  
Crash Failure ◽  
Cultural Sphere ◽  
Rock N Roll ◽  
Hot Dog

The article is devoted to the analysis of American borrowings in French of the 21st century. Americanisms in French keep their graphic form and change French orthography, its principles and system. All spheres of social being are borrowing from American English. In the field of food the French vocabulary has borrowed from American English snack-bar, brunch, fast-food, pop-corn, hot-dog, cocktail, coca-cola. In some words the orthography is simple, based on phonetical principles. In the case of bar, fast, pop, corn, dog, coca, cola there is no problems to write or to read these words. But other substantives have brought specific orthograms (ck, un, op, h, ail) and modify the French graphic inventory: snack, brunch, food, hot, cocktail. The cultural sphere has received many units from American English: hip-hop, rock-and-roll, rock`n`roll, hard rock, heavy metal, jazz rock, punk rock, grunge. Some americanisms enrich French graphic with digrams ck, ea, zz, un or aphonograms (h), apostrophe (rock`n`roll) etc. Borrowed americanisms with English orthography can create homophone series in french: crack (cocaine) – crac! (crac!) – crack (crack) – crack (favorite trotter) – craque, craques, craquent (verb "to crack") – craque (fib) – krach (crash failure) – krak (castle). Barrowed orthograms complicate French graphic. They have no new phonems but add superfluous graphems in French inventory. Etymological orthograms reproduce the linguocultural traditions of language. They shape the high graphostyle of language and please young people who loves to use Anglicisms and Americanisms with authentic orthography. Graphic features of English loan-words result into hybridization of French vocabulary, complicate orthography, extend the linguocultural domain and insure the ethnosociolinguistical loyalty of both languages and cultures.

‘Where all my bad girls at?’

2021 ◽  
Vol 15 (1) ◽  
Author(s):  
Joyhanna Yoo Garza
Keyword(s):  
African American ◽  
Hip Hop ◽  
American English ◽  
African American English ◽  
Gender And Race ◽  
Linguistic Resources ◽  
Performance Challenges

This article examines the polyvalence of racial(ised) representations in K-pop performances. The analysis of K-pop star CL’s (2013) song and video ‘Nappeun gijibae’ (‘The bad girl’) demonstrates how the artist projects an assertive femininity by embodying and localising the Bad Bitch: a sexually agentive figure of womanhood from US hip hop. CL’s use of African American English and conventionalised hip hop tropes helps resignify gijibae, a pejorative Korean term for women. By shifting between decontextualised styles invoking a different time and place, CL is able to build a kind of chronotopic capital that transforms fragmented styles into an empowered cosmopolitan femininity. However, although CL’s performance challenges Korean gendered norms in its use of local linguistic resources, her selective appropriations of US Black and Chicanx cultural signifiers reproduce narrow images of racialised femininities and reify a hierarchy of valuation along lines of gender and race.

scholarly journals O ÁLBUM SANDINISTA!: AGENCIAMENTOS E FRONTEIRAS MUSICAIS DO GRUPO THE CLASH // THE SANDINISTA! ALBUM: AGENCEMENTS AND MUSICAL BOUNDARIES OF THE BAND THE CLASH

2017 ◽  
Vol 15 (2) ◽  
pp. 511
Author(s):  
Herom Vargas ◽  
Nilton Carvalho
Keyword(s):  
Hip Hop ◽  
Punk Rock

O movimento punk inglês produziu rompimentos com o rock mainstream da indústria fonográfica, mas após algum tempo, sua estética se estabeleceu como fórmula cristalizada. No álbum Sandinista! (1980), a banda inglesa The Clash se afasta dessa rigidez musical ao movimentar-se para as fronteiras, em contato com outras culturas e seus agenciamentos textuais. Essa mudança é um aspecto fundamental na construção da linguagem híbrida do disco que difere dos moldes identitários do punk rock. Com base nos Estudos Culturais e na Semiótica da Cultura, este artigo visa demonstrar como o grupo propôs uma arte de fronteira musical e política com o chamado Terceiro Mundo, usando textos (dub, jazz, soul, hip hop, calypso) geradores de uma semiótica que difere do regime significante (DELEUZE; GUATTARI, 1995) do punk britânico.

Real Niggas

2017 ◽  
Author(s):  
Miles White
Keyword(s):  
African American ◽  
Black Males ◽  
Hip Hop ◽  
Crack Cocaine ◽  
Hip Hop Culture ◽  
Young Males ◽  
Public Enemy ◽  
Jay Z

This chapter discusses the performance of blackness and masculinity in hip-hop performance, the trope of the bad nigger and the notion of the hard man, and how African American performers have engaged the sign of blackness in both pejorative and empowering ways. For young males—blacks, whites, indeed of many racial and ethnic stripes—hardcore rap transformed black males from the 'hood into totemic performers of a powerful masculine authenticity and identity at a time in which there appeared to be few real men left. The chapter also discusses the crack cocaine epidemic in the 1980s and how the intrusion of gang and drug cultures contributed to the transformation of hip-hop culture, the performance of masculinity within that culture, and the influence of a number of seminal artists including Run-DMC, N.W.A., Public Enemy, and Jay-Z.

Older German Loan-Words in American English

1945 ◽  
Vol 20 (4) ◽  
pp. 247 ◽  
Author(s):  
Leo L. Rockwell
Keyword(s):  
American English ◽  
Loan Words

scholarly journals Tripping with Allah

2014 ◽  
Vol 31 (1) ◽  
pp. 124-127
Author(s):  
Vernon James Schubel
Keyword(s):  
New York ◽  
Hip Hop ◽  
Pop Culture ◽  
Religious Community ◽  
Punk Rock ◽  
First Year ◽  
Entire Body ◽  
Wide Range ◽  
Eminent Scholar ◽  
Great Writer

I should begin by confessing that I have been a fan of Michael MuhammadKnight’s work ever since I first read his novel, The Taqwacores, and his travelmemoir, Blue-Eyed Devi: A Road Odyssey through Islamic America, back in2007. I have since read all of his books and have taught several of them in mycourses on contemporary Islam and Islam in North America. I regularly teachhis account of the hajj from Journey to the End of Islam in my first-year “Introductionto Religion” course. I consider his book on the Five-Percent Nation,The Five Percenters: Islam, Hip Hop, and the Gods of New York, to be one ofthe finest ethnographies of a religious community ever penned. I was thereforepleased to find I have a blurb on the back of Tripping with Allah in which Ipraise him for his talent, his authenticity, and his passion. I consider the authora great writer. I envy his skill with language, his creative intellect, and, mostof all, his formidable work ethic. After all, this is his ninth book since the publicationof The Taqwacores (Soft Skull Press: 2004). However, I sometimeswonder exactly for whom he is writing because his books assume a sophisticatedaudience with backgrounds in a wide range of topics from the historyof Islam to American popular culture.In the final pages of Tripping with Allah, Knight sums up his career sofar with this remarkable paragraph.I’ve spent roughly twenty years as a Muslim of some form or other, a crazyconvert and then an ex-Muslim, progressive Muslim, ghulat Shi’a, Nimatullahidervish, Azrael Wisdom, Mikail El, Islamic Gonzo, “godfather ofMuslim punk rock,” Seal of Muslim Pseudo and now Pharmakon Allah,Muhammadus Prine, Quetzalcoatl Farrakhan who trips and says FatimaKubra but has this goofy idea of taking up the way of the salaf, and Dr. BruceLawrence just called me a malamatiyyah at a lecture in Vancouver. (p. 248)This paragraph is striking because it assumes so much of its reader, includinga rather encyclopedic knowledge of Islam, African-American religioustraditions, pop-culture, and what Frank Zappa might have called the “conceptualcontinuity” of the author’s entire body of work. The line that grabbed memost powerfully was the image of Bruce Lawrence, the eminent scholar ofIslam and Sufism, referring to Michael Knight as a malāmatīyah. This term, ...

Conclusion

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Social Order ◽  
Hip Hop ◽  
Theoretical Framework ◽  
Academic Disciplines ◽  
Racial Groups ◽  
The South ◽  
South Bronx ◽  
Popular Narrative ◽  
The World ◽  
Rock N Roll

The first section provides includes an assessment of what can be added to our understanding of how hip hop started. It points especially to areas for in which more data are needed. It also provides sketches of how one might use the theoretical framework developed in this work to study the evolution of hip hop beyond the 1970s. The second section concerns how the theoretical arguments in this book can go beyond the world of hip hop and be put to use in studies of the birth of similar entities, such as other musical forms (rock n’ roll or jazz), professions, academic disciplines, racial groups, and nations. The final sections of the chapter presents the substantive implications of this work. As opposed to the popular narrative that portrays life in the South Bronx during the 1970s as the quintessence of social and personal disorganization, the story of hip hop shows that, at least among youth, the South Bronx was a place of creative vibrancy with its own form of social order. It argues that, if we look closely, we shall see that other American ghettoes also exhibited (and continue to exhibit) such vivacity.

The Jewish Atlantic: Diaspora and Pop Music

2019 ◽  
pp. 109-130
Author(s):  
Caspar Battegay
Keyword(s):  
Hip Hop ◽  
Black Atlantic ◽  
Pop Music ◽  
Music Business ◽  
Intercultural Exchange ◽  
Cultural Minorities ◽  
Rock N Roll ◽  
Paul Gilroy ◽  
The Relationship ◽  
Production Conditions

This chapter discusses the emergence of pop music as a distinctive musical genre intended for very wide audiences and often controlled by the giants of the music business. It describes how pop is characterized by the specific conditions of religious and cultural minorities that are closely linked to African American history, such as jazz, blues, rock 'n' roll, reggae, disco music, soul, and hip hop. It also mentions the British scholar of cultural studies named Paul Gilroy, who defined the production conditions of hip hop as transnational structures of circulation and intercultural exchange. The chapter examines the relationship between the hip hop world and the real world that changed since Gilroy's observations in the 1990s. It talks about the insistence on the diasporic context of the 'Black Atlantic' and its kinship with Jewish modernity that remains pivotal to any pursuit of the diaspora in popular culture.

Man Eats Dogs: The Hot Dog Stands of Chicago

2005 ◽  
Vol 5 (1) ◽  
pp. 56-64
Author(s):  
bruce kraig
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Fast Food ◽  
Small Communities ◽  
European Immigrants ◽  
History Of ◽  
The Subject ◽  
Hot Dog ◽  
Corporate Business ◽  
The City

Man Eats Dog Sometimes a hot dog is more than just a fast food, and the stands from which they are served in Chicago are more than simply corporate feeding places. Created by European immigrants in the Nineteenth Century and elaborated by succeeding generations, the subject of many jokes including the name itself, the hot dog represents a social and cultural history of America. Nowhere are these themes better seen than in Chicago’s hot dog stands and in the wonderful vernacular art decorating them. Stands define urban, ethnic neighborhoods, a mosaic of small communities that together compose the portrait of the city. These small places are the realms of small entrepreneurs who live seemingly untouched by the culture of modern corporate business. The art upon them embody these older, homier themes—retreat into memory, abundance, the imagined world of carnevale, and many others. To Chicagoans, hot dog stands, local eateries in general, reify the life of their hometown.

I'm the illest fucka

English Today ◽  
2007 ◽  
Vol 23 (2) ◽  
pp. 54-60 ◽  
Author(s):  
Jamie Shinhee Lee
Keyword(s):  
African American ◽  
South Korea ◽  
Detailed Analysis ◽  
Hip Hop ◽  
American English ◽  
African American English ◽  
Pop Music ◽  
Face To Face ◽  
South Korean ◽  
Tv Commercials

ABSTRACTAn analysis of African American English in South Korean hip hop. English is rarely used in face-to-face terms in South Korea, but the use of English in commerce and entertainment is not such a rarity. The presence of English expressions in advertising and pop lyrics is no longer considered extraordinary. Lee (2006) reports that 83.75% of 720 South Korean TV commercials use some type of English, and only 16.25% of advertisements rely exclusively on Korean. Pop music is another discourse space in which English is fairly frequently used, occurring in more than 50% of pop song titles. A detailed analysis of the frequency of English in South Korean pop music (SK-pop) is reproduced.

Sign in / Sign up

Export Citation Format

Share Document