scholarly journals TONY MORRISON AND ALICE WALKER’S LINGUISTIC IDENTITY AND SEMANTIC TRIGGERS (IN THE CONTEXT OF AFRICAN-AMERICAN IDENTITY)

2021 ◽  
Vol 75 (1) ◽  
pp. 130-134
Author(s):  
B. Mamedova ◽  

The article is devoted to linguistic identity and semantic triggers, a rather interesting aspect of the linguistic identity of Tony Morrison and Alice Walker. The main purpose of of the research of linguistic identity by Toni Morrison and Alice Walker is to analyze of semantic trigger lexical units and expressions in their ideolect. Scientific novelty of the research is determined by studying the semantic trigger lexical units. Our analysis suggests that for T. Morrison and E. Walker, semantic triggers such as blue eyes, nigger, and coon provide a “transition” to scripts that are relevant to their African-American identity. Thus, both writers are carriers of individual linguistic identities, as well as symphonic (social, ethnic, social) linguistic identities, specifically African-American linguistic identities.

Author(s):  
Rosalía Villa Jiménez

In her novel Paradise (1997), Toni Morrison portrays one of her main characters, Consolata or “disconsolate”, through a constant journey in search for her African American identity as a complete woman. This journey engulfs Consolata in an eternal fluctuation between hope and hopelessness, which results from being caught up in the so-called liminal/diaspora space in hybridity (Bhabha, 1994; Brah, 1996).The present paper deals with location of culture and gender identity in the marginal, unhomely spaces between dominant social formations by analysing chapter 7 “Consolata”. Consolata may be seen as an illustrative example of the black female community struggling to overcome the hurdles of being victimised as hybrid diasporic women in a patriarchal archaic western [black] culture.


2021 ◽  
pp. 146144482110143
Author(s):  
Soyoung Park ◽  
Sharon Strover ◽  
Jaewon Choi ◽  
MacKenzie Schnell

This study examines the temporal dynamics of emotional appeals in Russian campaign messages used in the 2016 election. Communications on two giant social media platforms, Facebook and Twitter, are analyzed to assess emotion in message content and targeting that may have contributed to influencing people. The current study conducts both computational and qualitative investigations of the Internet Research Agency’s (IRA) emotion-based strategies across three different dimensions of message propagation: the platforms themselves, partisan identity as targeted by the source, and social identity in politics, using African American identity as a case. We examine (1) the emotional flows along the campaign timeline, (2) emotion-based strategies of the Russian trolls that masked left- and right-leaning identities, and (3) emotion in messages projecting to or about African American identity and representation. Our findings show sentiment strategies that differ between Facebook and Twitter, with strong evidence of negative emotion targeting Black identity.


The Forum ◽  
2016 ◽  
Vol 14 (1) ◽  
Author(s):  
Morton Keller

AbstractThis examination of Obama and race in America has three themes. The first is his African-American identity, and concludes that it has marked and useful resemblances to John F. Kennedy’s Irish Catholicism. It then examines Obama’s record affecting race relations in America: what he has done and, as revealing, what he has not done. Finally, it seeks to set Obama’s approach to race relations in the context of its rich and diverse history in this nation.


Author(s):  
Carol Bunch Davis

This book challenges the cultural memory of the African American Freedom Struggle era that hinges on a master narrative focused on the “heroic period” of the Civil Rights Movement. It argues that this narrative limits the representation of African American identity within the Civil Rights Movement to Martin Luther King's nonviolent protest leadership in the segregated South and casts Malcolm X's advocacy of black nationalism and the ensuing Black Power/Arts Movement as undermining civil rights advances. Through an analysis of five case studies of African American identity staged in plays between 1959 and 1969, the book instead offers representations that engage, critique, and revise racial uplift ideology and reimagine the Black Arts Movement's sometimes proscriptive notions of black authenticity as a condition of black identity and cultural production. It also posits a postblack ethos as the means by which these representations construct their counternarratives to cultural memory and broadens narrow constructions of African American identity shaping racial discourse in the U.S. public sphere of the 1960s.


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