THE EVOLUTION OF LIBYANS’ IDENTITY MARKERS IN EGYPTIAN ICONOGRAPHY.

2019 ◽  
pp. 261-274
Author(s):  
Elena Panaite
Keyword(s):  
Identity Markers ◽  
Egyptian Iconography

Identity Markers and L2 Pronunciation

1988 ◽  
Vol 10 (1) ◽  
pp. 33-49 ◽  
Author(s):  
Jane Zuengler
Keyword(s):  
Second Language ◽  
American English ◽  
Spanish Speakers ◽  
American Identity ◽  
Native Spanish Speakers ◽  
Sociolinguistic Variation ◽  
English Pronunciation ◽  
Identity Markers ◽  
Social Markers ◽  
Social Marking

This is a report of a study of social marking in second language pronunciation. In particular, it tested out Trudgill's (1981) suggestion that sounds that are most likely to undergo sociolinguistic variation, that is, that may become social markers, are those that Labov (1972a, 1972b), calls stereotypes. This study sought to determine whether there were certain aspects of English pronunciation that native Spanish speakers would, at some level of awareness, associate with American English/American identity. The speakers were asked to perform several tasks, including a mimic of an American speaking Spanish with an American accent (following Flege & Hammond, 1982). Among the results, speakers displayed a tacit awareness of English-Spanish sound distinctions (in particular, allophonic differences) in performing the mimic (supporting Flege & Hammond, 1982). Additionally, some of the alterations they were very conscious of held as stereotypes of American English. Support was found for Trudgill's (1981) suggestion.

scholarly journals A White, Jewish, Rap-Infused Desire for Blackness: David Burd's Lil Dicky

2019 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Ethan Sabourin
Keyword(s):  
Jewish Identity ◽  
Rap Music ◽  
White Male ◽  
Black Body ◽  
Jewish American ◽  
Starting Point ◽  
Identity Markers

Known by his moniker Lil' Dicky, David Burd has been making rap music with an exceedingly Jewish twist for several years. This paper examines the Jewish and racial implications, and especially the intersections between the two, in Burd's lyrics and videos. Using James Baldwin's commentary on the Jewish-American condition in "On Being 'White' and Other Lies" as a starting point, I consider how Burd utilizes Jewish identity markers as a stand-in for Blackness in order to give his rap a unique ethnic position. Through three of his songs, I analyze the ways that Burd's relationship with race has evolved, culminating in his 2018 single "Freaky Friday" where Lil' Dicky and Chris Brown 'switch bodies'. In this song Dicky is able to say the N-word by having been placed by Burd into a Black body. Burd's music reflects a piece of contemporary, White, Male, Jewish consciousness and has implications for those who see themselves reflected in it.

Parent Advocacy for Lives That Matter

2021 ◽  
pp. 154079692110364
Author(s):  
Beth Harry ◽  
Lydia Ocasio-Stoutenburg
Keyword(s):  
Women Of Color ◽  
Children With Disabilities ◽  
Service Providers ◽  
Relevant Literature ◽  
Parent Advocacy ◽  
Black Lives Matter ◽  
Key Concepts ◽  
Identity Markers ◽  
Broad Interpretation

This article draws parallels between the concept of “Black lives matter” and the efforts of caregivers to advocate for the value of the lives of their children who have disabilities. The authors identify three key concepts that undergird their argument: first, the concept of systemic bias as built in to the hierarchical valuing of different disabilities and the role of this bias in the valuing of parents’ voices; second, the ways in which stigmatized identity markers intersect to intensify bias; and third, the authors propose a broad interpretation of the meaning of parent advocacy in which service providers seek to work as co-advocates rather than as professional advisors. The authors review relevant literature on these themes and also draw on their own experiences as women of color who are parents of children with disabilities. They present their exploration of these topics against the backdrop of the convergence of the COVID-19 pandemic and the Black Lives Matter movement, and call on epistemological assumptions and intersectionality to address the question of whether participants’ perspectives on racism should be considered as “truth.”

Technosocial Space

2010 ◽  
pp. 54-69 ◽  
Author(s):  
Anne Sofie Laegran
Keyword(s):  
Rural Communities ◽  
Theory And Practice ◽  
Space And Place ◽  
The Internet ◽  
Place And Space ◽  
Identity Markers ◽  
A Site ◽  
Different Levels ◽  
The Way ◽  
Internet Cafes

The chapter is based on a study of Internet cafés in Norway, and interrogates the way space and place is produced in interconnections between people and technology in the Internet café. Drawing on actornetwork theory and practice-oriented theories of place and space, the Internet café is understood as technosocial spaces producing connections between people and places at different levels. Firstly, the Internet café can be understood as a hybrid, a site where users and technologies as well as space are coconstructed in entwined processes where gender, as well as other identity markers, are central in the way the technology, as well as the cafés, develop and are understood. The next level looks at the production of Internet cafés as technosocial spaces. Despite being perceived as an “urban” and “global” phenomenon, Internet cafés are configured based on local circumstances, in urban as well as rural communities. Differing images of what the cafés want to achieve, as well as material constrains, are at play in this process. Finally, the chapter shows how Internet cafés are places of connections, producing space beyond the walls of the café, linking the local into a translocal sphere.

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