Alternative Spelling and Censorship: the Treatment of Profanities in Virtual Communities Laura-Gabrielle Goudet
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The N-Word : Comprehending the Complexity of Stratification in American Community Settings Anne V
Union College Union | Digital Works Honors Theses Student Work 6-2009 The N-word : comprehending the complexity of stratification in American community settings Anne V. Benfield Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Race and Ethnicity Commons, Sociology of Culture Commons, and the Urban Studies and Planning Commons Recommended Citation Benfield, Anne V., "The -wN ord : comprehending the complexity of stratification in American community settings" (2009). Honors Theses. 1433. https://digitalworks.union.edu/theses/1433 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. The N-Word: Comprehending the Complexity of Stratification in American Community Settings By Anne V. Benfield * * * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Sociology UNION COLLEGE June, 2009 Table of Contents Abstract 3 Introduction 4 Chapter One: Literature Review Etymology 7 Early Uses 8 Fluidity in the Twentieth Century 11 The Commercialization of Nigger 12 The Millennium 15 Race as a Determinant 17 Gender Binary 19 Class Stratification and the Talented Tenth 23 Generational Difference 25 Chapter Two: Methodology Sociological Theories 29 W.E.B DuBois’ “Double-Consciousness” 34 Qualitative Research Instrument: Focus Groups 38 Chapter Three: Results and Discussion Demographics 42 Generational Difference 43 Class Stratification and the Talented Tenth 47 Gender Binary 51 Race as a Determinant 55 The Ambiguity of Nigger vs. -
Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross
Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross Scatology, for all the sordid formidability the term evokes, is not an es- pecially novel or unusual theme, stylistic technique or descriptor in film or filmic reception. Shit happens – to emphasise both the banality and perva- siveness of the cliché itself – on multiple levels of textuality, manifesting it- self in both the content and aesthetic of cinematic texts, and the ways we respond to them. We often refer to “shit films,” using an excremental vo- cabulary redolent of detritus, malaise and uncleanliness to denote their otherness and “badness”. That is, films of questionable taste, aesthetics, or value, are frequently delineated and defined by the defecatory: we describe them as “trash”, “crap”, “filth”, “sewerage”, “shithouse”. When considering cinematic purviews such as the b-film, exploitation, and shock or trash filmmaking, whose narratives are so often played out on the site of the gro- tesque body, a screenscape spectacularly splattered with bodily excess and waste is de rigeur. Here, the scatological is both often on blatant dis- play – shit is ejected, consumed, smeared, slung – and underpining or tinc- turing form and style, imbuing the text with a “shitty” aesthetic. In these kinds of films – which, as their various appellations tend to suggest, are de- fined themselves by their association with marginality, excess and trash, the underground, and the illicit – the abject body and its excretia not only act as a dominant visual landscape, but provide a kind of somatic, faecal COLLOQUY text theory critique 18 (2009). -
The Transition of Black One-Dimensional Characters from Film to Video Games
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2016 The ewN Black Face: The rT ansition of Black One- Dimensional Characters from Film to Video Games Kyle A. Harris Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Harris, Kyle A. "The eN w Black Face: The rT ansition of Black One-Dimensional Characters from Film to Video Games." (Spring 2016). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris B.A., Southern Illinois University, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Department of Mass Communications and Media Arts in the Graduate School Southern Illinois University Carbondale May 2016 RESEARCH PAPER APPROVAL THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media, Media Management Approved by: Dr. William Novotny Lawrence Department of Mass Communications and Media Arts In the Graduate School Southern Illinois University Carbondale -
The Semantics and Pragmatics of Slurs and Thick Terms Bianca Cepollaro
The Semantics and Pragmatics of slurs and thick terms Bianca Cepollaro To cite this version: Bianca Cepollaro. The Semantics and Pragmatics of slurs and thick terms. Philosophy. Uni- versité Paris sciences et lettres; Scuola normale superiore (Pise, Italie), 2017. English. NNT : 2017PSLEE003. tel-01508856 HAL Id: tel-01508856 https://tel.archives-ouvertes.fr/tel-01508856 Submitted on 14 Apr 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE DE DOCTORAT de l’Université de recherche Paris Sciences et Lettres PSL Research University Préparée dans le cadre d’une cotutelle entre Scuola Normale Superiore, Pisa et École Normale Supérieure, Paris La sémantique et la pragmatique des termes d’offense et des termes éthiques épais Ecole doctorale n°540 ÉCOLE TRANSDISCIPLINAIRE LETTRES/SCIENCES Spécialité Philosophie COMPOSITION DU JURY : Mme. JESHION Robin University of South California, Rapporteur M. VÄYRYNEN Pekka University of Leeds, Rapporteur Mme. BIANCHI Claudia Soutenue par Bianca Università Vita-Salute San Raffaele, Membre du jury CEPOLLARO Le 20 janvier 2017h Mme. SBISÀ Marina Università degli Studi di Trieste, Membre du jury Dirigée par Pier Marco BERTINETTO et Isidora STOJANOVIC The semantics and pragmatics of slurs and thick terms Bianca Cepollaro Abstract In this thesis I develop a uniform account of slurs and thick terms in terms of presuppositions. -
Introduction: Memories of Slavery
INTRODUCTION MEMORIES OF SLAVERY On 27 April 1848, the Second Republic abolished slavery in its French overseas colonies thus ending three centuries of African slave trade and forced plantation labor. One hundred fifty years later the government of the Fifth Republic for the first time or- ganized extensive official celebrations to commemorate this historic event. The past was resurrected, invading the present with countless memories—though undoubtedly not the same for the French nation and for the formerly enslaved popula- tions in the overseas départements of Guadeloupe, Martinique, French Guiana, and Reunion.1 The governmental commemorations of April 1998 were varied and all took place in France. President Jacques Chirac gave an opening speech, Prime Minister Lionel Jospin hon- ored the abolitionary fervor of the small village of Champag- ney, various ministers presented plaques commemorating important abolitionary figures and French Caribbean artists were invited for a variety of artistic performances. The over- seas domains also organized their own local commemorative functions including exhibitions, conferences, and theater pro- ductions as well as the inauguration of memorials. In Mar- tinique, for instance, scenes of the slave trade were reenacted with the arrival of a slave vessel, the unloading of slaves, and the reconstitution of a slave market. In Guadeloupe, a flame honoring the memory of the nèg mawon (fugitive slave) passed from township to township during the entire year preceding the 150th anniversary and was returned to its starting point amid celebrations, dances, and traditional music. 2 Catherine Reinhardt The most revealing aspects of the commemoration lie in the articles of major French and French Caribbean newspapers such as Le Monde, Libération, Le Figaro, and France-Antilles writ- ten for the occasion. -
“Every Kid Goes Through Phrases”
Antti Iivari “Every Kid Goes Through Phrases” Wordplay and Rickyisms in the Finnish Subtitles of Mike Clattenburg’s Trailer Park Boys School of Marketing and Communication Master’s Thesis in English Studies Language expertise in a specialised society Vaasa 2020 2 UNIVERSITY OF VAASA School of Marketing and Communication Author: Antti Iivari Master’s Thesis: “Every Kid Goes Through Phrases” : Wordplay and Rickyisms in the Finnish Subtitles of Mike Clattenburg’s Trailer Park Boys Degree: Master of Arts Programme: Language expertise in a specialized society Supervisor: Helen Mäntymäki Date: 2020 Sivumäärä: 58 ABSTRACT: Tekstitykset ovat yksi luetuimmista käännösteksteistä. Näin esillä oleva tekstityyppi on jatkuvan arvostelun kohteena. Tekstiä on helppo arvostella, jos se ”ei kuulosta oikealta”, mutta tarkkaa syytä tähän voi olla hankala arvioida. Huumori ja sanaleikit ovat olleet hankalia käännettäviä tekstityypistä riippumatta. Suora vastine ei välttämättä sisällä kaikkia lähdetekstin merkityksiä ja voi myös olla, ettei sitä voida edes käyttää tekstityksessä esimerkiksi merkkimäärän rajoituk- sien takia. Tämä tutkielma on ammentanut inspiraatiota tästä nopeasti ohitettavasta arvostelusta. Ensin- näkin tutkielmassa oltiin kiinnostuneita, kuinka Trailer Park Boys -sarjan Netflix-tekstitykset suo- riutuivat. Sarja sisältää paljon Ricky -nimiseen hahmoon perustuvia humoristisia sanaleikkejä, joita sarjan seuraajat kutsuvat ”Rickyismeiksi”. Tutkimuksessa kysyttiin lähtökohtaisesti, ovatko näiden sanaleikkien käännökset tarkoituksenmukaisia -
Race and the Re-Embodied Voice in Hollywood Film
UC Santa Barbara UC Santa Barbara Previously Published Works Title Race and the re-embodied voice in Hollywood film Permalink https://escholarship.org/uc/item/6nm6400m Journal Language & Communication, 31(3) ISSN 02715309 Author Bucholtz, Mary Publication Date 2011-07-01 DOI 10.1016/j.langcom.2011.02.004 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Language & Communication 31 (2011) 255–265 Contents lists available at ScienceDirect Language & Communication journal homepage: www.elsevier.com/locate/langcom Race and the re-embodied voice in Hollywood film Mary Bucholtz ⇑ Department of Linguistics, 3432 South Hall, University of California, Santa Barbara, CA 93106-3100, USA article info abstract Keywords: As linguistic anthropologists and others have argued, the development of modern sound African American English technologies led to the disembodiment of the voice; the resulting ideologies of voice, how- Crossing ever, concerned embodiment rather than disembodiment. By contrast, in late-modern Film media regimes, essentialized voices have been recontextualized and linguistically re- Ideology embodied via crossing and stylization. This article demonstrates that the re-embodiment Masculinity Whiteness of voice reasserted naturalized boundaries of gender and race in Hollywood ‘wigger’ films from the mid-1990s to the early 2000s. The ideological effects of such representations both locally and more widely point to the importance of examining mediatized practices and products through a linguistic-anthropological lens. Ó 2011 Elsevier Ltd. All rights reserved. 1. Introduction As part of a broader inquiry into the cultural and historical formation of language ideologies (e.g., Bauman and Briggs, 2003; Kroskrity, 2000; Schieffelin et al., 1998), linguistic anthropologists have been increasingly concerned with the question of how ideologies and technologies of the voice emerged as defining tools of modernity. -
An Assessment of Emotional-Force and Cultural Sensitivity the Usage of English Swearwords by L1 German Speakers
Graduate Theses, Dissertations, and Problem Reports 2019 An Assessment of Emotional-Force and Cultural Sensitivity The Usage of English Swearwords by L1 German Speakers Sarah Dawn Cooper West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the German Linguistics Commons Recommended Citation Cooper, Sarah Dawn, "An Assessment of Emotional-Force and Cultural Sensitivity The Usage of English Swearwords by L1 German Speakers" (2019). Graduate Theses, Dissertations, and Problem Reports. 3848. https://researchrepository.wvu.edu/etd/3848 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An Assessment of Emotional-Force and Cultural Sensitivity The Usage of English Swearwords by L1 German Speakers Sarah Dawn Cooper Thesis submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in World Languages, Literatures, and Linguistics Cynthia Chalupa, Ph.D., Chair Jonah Katz, Ph.D. -
“Ain't Gonna Worry No More”: Depictions of the American South In
“Ain’t Gonna Worry No More”: Depictions of the American South in Randy Newman’s Good Old Boys Kate Coleman, B.A. Submitted in partial requirement for Special Honors in the Department of English The University of Texas at Austin May 2017 _____________________________________________________ Professor Coleman Hutchison Department of English Supervising Faculty _____________________________________________________ Professor Matthew Valentine Plan II Honors Second Reader Abstract Randy Newman’s album Good Old Boys (1974) is a southern concept album. Newman employs several narrators on the album in order to explore multiple perspectives and elements that illuminate southern identity. Newman’s observations result in a view of the South as disenfranchised, defeated not only by their regional prejudice and own mistakes, but by moral hypocrisy and abandonment from the rest of the United States. In implicating the rest of the country, Newman indicates that the struggles highlighted in the South and southern identity are not simply a result of regional dynamics, but indicative of larger American dynamics. What’s more, many of Newman’s observations and commentary withstand the test of time, and maintain relevance to political and social dynamics still present today. In providing biographical, historical, social, and musical context, as well as close-reading the album, the thesis not only explores Newman’s methods, but argues for his larger goals. Through analyzing and engaging with reviews of the album, both contemporary and modern, this thesis establishes Good Old Boys’ lasting relevance and legacy. i For my father, who not only taught me how to listen, but encouraged me to speak. ii Acknowledgements Never thought I’d make it, but I always do somehow. -
The Seven Dirty Words You Should Be Allowed to Say on Television
Washington University Law Review Volume 92 Issue 5 2015 The Seven Dirty Words You Should Be Allowed to Say on Television Ellen Alexandra Eichner Washington University School of Law Follow this and additional works at: https://openscholarship.wustl.edu/law_lawreview Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the First Amendment Commons Recommended Citation Ellen Alexandra Eichner, The Seven Dirty Words You Should Be Allowed to Say on Television, 92 WASH. U. L. REV. 1353 (2015). Available at: https://openscholarship.wustl.edu/law_lawreview/vol92/iss5/9 This Note is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Law Review by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. THE SEVEN DIRTY WORDS YOU SHOULD BE ALLOWED TO SAY ON TELEVISION I. INTRODUCTION Shit, piss, fuck, cunt, cocksucker, motherfucker, and tits.1 For any American who has turned on his or her television since 1978 and tuned into one of the traditional broadcast networks—ABC, NBC, CBS, or Fox—these seven words have been conspicuously absent from broadcasting. Confusingly, with a flip of the remote over to a premium cable television station, these seven words may all occur in quick succession on one television show.2 When one of them does happen to make it to air on a broadcast network, it often becomes the source of an astronomical fine from the Federal Communications Commission (“FCC”) and years of litigation between the network and the federal government.3 A recent case resulted in a huge victory for broadcasters. -
Southern Language, Ideology, and Identity in a High School Sorority Sara Lide University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 12-15-2014 Southern Language, Ideology, and Identity in a High School Sorority Sara Lide University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Linguistics Commons Recommended Citation Lide, S.(2014). Southern Language, Ideology, and Identity in a High School Sorority. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3034 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Southern Language, Ideology, and Identity in a High School Sorority by Sara Lide Bachelor of Arts Rice University, 2006 Master of Arts Lancaster University, 2007 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Linguistics College of Arts and Sciences University of South Carolina 2014 Accepted by: Elaine Chun, Major Professor Tracey Weldon, Committee Member Jennifer Reynolds, Committee Member Christine Mallinson, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Sara Lide, 2014 All Rights Reserved. ii Acknowledgements I cannot possibly acknowledge everyone who has helped me through this long process, and I could certainly not do so adequately. Instead, I offer these few words of gratitude. I am thankful for my committee, Jennifer Reynolds, Tracey Weldon, Christine Mallinson, and especially my advisor, Elaine Chun, and for their guidance, advice, and encouragement along the way. My weekly meetings with Julia McKinney and Sandra Keller helped me in so many ways: thank you for the intellectual and moral support that extended far outside the bounds of those meetings. -
Slut Pride: the Reappropriation Attempt by Slutwalk
Quercus: Linfield Journal of Undergraduate Research Volume 2 Article 3 2016 Slut Pride: The Reappropriation Attempt by SlutWalk Siena C. Noe Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/quercus Recommended Citation Noe, Siena C. (2016) "Slut Pride: The Reappropriation Attempt by SlutWalk," Quercus: Linfield Journal of Undergraduate Research: Vol. 2 , Article 3. Available at: https://digitalcommons.linfield.edu/quercus/vol2/iss1/3 This Article is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Article must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Slut Pride: The Reappropriation Attempt by SlutWalk Acknowledgements Thanks to Brenda DeVore Marshall for her perpetual patience, guidance, and enthusiasm. This article is available in Quercus: Linfield Journal of Undergraduate Research: https://digitalcommons.linfield.edu/ quercus/vol2/iss1/3 Noe: Slut Pride SLUT PRIDE: THE REAPPROPRIATION ATTEMPT BY SLUTWALK A slew of scantily clad women marching through the streets shouting obscenities like “Slut, slut! Ho, ho! Yes means yes! No means no!” may seem a little unusual especially if the women are known to hold “respectable” positions and lead otherwise “respectable” lives. So what exactly is going on? The first SlutWalk took place in Toronto, Ontario, Canada in 2011, its idea conceived from feminist ideology and ignited by a comment made by Toronto Police officer, Constable Michael Sanguinetti.