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The Global ETD Search service is a free service for researchers
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Showing 1 to 10 of 10 (0.026 seconds)Spelling suggestions: "subject:"[een] EBONICS"" "subject:"[enn] EBONICS""
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VOICES IN AN EDUCATION TRAP: Linguistic Deficit Theory in Nova Scotia AssessmentsFraser, K-Lee 19 August 2013 (has links)
Research in the area of sociolinguistics, African Nova Scotian Ebonics, and literacy achievement never truly developed in Nova Scotia. Unlike previous literacy outcome research, this research study employs a qualitative content analysis and Critical Pedagogy to examine the process of assessment and the Linguistic Deficit Theory embedded within the education system. The sociolinguistic hierarchy of Standard English has caused numerous misconceptions, which impacts the Ebonics speech community across the African diaspora. Yet, previous research found that the promotion of code-switching between Standard English and Ebonics in an anti-racist empowering environment promotes higher literacy achievement among Ebonics speakers. My research findings suggest that the Nova Scotia education system has implemented cultural and linguistic diverse curriculum policies. However, the Linguistic Deficit Theory resurfaces in several sections of the assessment process. These findings suggest that future research should focus on in-classroom participation or observing the assessment practices for more detailed and generalizable findings.
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[en] ANOTHER BLACK WOMAN DIDN T SMILE: THE EXPERIENCE OF BLACK DIASPORA IN THE POEMS OF CAROL DALL FARRA AND PORSHA OLAYIWOLA / [pt] OUTRA PRETA QUE NÃO SORRIU: A EXPERIÊNCIA DA DIÁSPORA NEGRA NOS POEMAS DE CAROL DALL FARRA E PORSHA OLAYIWOLASTEFFANY DIAS DA SILVA 19 June 2023 (has links)
[pt] A dissertação apresenta uma incursão pelos poemas de duas poetas da diáspora
negra, Carol Dall Farra, do Brasil, e Porsha Olayiwola, dos Estados Unidos, numa
investigação sobre processos do sentimento de não pertencimento na constituição
de subjetividades de mulheres negras a partir de reflexões acerca de elementos de
diferenciação, como raça, gênero, classe, religião e orientação sexual. Em formato
de ensaios, pretende-se discutir economia onomástica, assim como a influência da
cultura negra nas línguas coloniais, a heterossexualidade compulsória e outras
experiências relacionadas à diáspora negra, cuja resistência, aqui, desponta nas
performances poéticas das autoras no slam poetry, que, nesse sentido, funciona
como uma ferramenta de construção de identidades e da partilha do sensível,
formulação de Jacques Rancière, em que os interlocutores dos poemas são muitas
vezes as mulheres negras, que, assim como as poetas, constroem suas subjetividades
com os poemas declamados. Sob a luz dos escritos de intelectuais como bell hooks,
Audre Lorde e Lélia Gonzalez, discute-se as disputas que as poetas escolhidas
escolhem travar para forjar subjetividades e criar vínculos. / [en] The dissertation presents an excursion into the poems of two poets from the African
diaspora: Carol Dall Farra, from Brazil, and Porsha Olayiwola, from the United
States, in an investigation into processes of the feeling of non-belonging in the
constitution of subjectivities of black women upon reflections on elements of
differentiation, such as race, gender, class, religion and sexual orientation. These
essays discuss onomastic economics, as well as the influence of Black culture on
colonial languages, compulsory heterosexuality and various experiences related to
the African diaspora, whose resistance, in this case, emerges in the poetic
performances of the authors in slam poetry , which, in this sense, function as tools
for building identities and partage du sensible, formulation by Jacques Rancière, in
which the interlocutors of the poems are often black women, who, such as the poets,
assemble their identities in virtue of the recited poems. In the light of the writings
of intellectuals such as bell hooks, Audre Lorde and Lélia Gonzalez, the disputes
that these poets choose to wage to forge subjectivities and create bonds are
discussed.
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"Not Perfect Grammar, Always Perfect Timing" : African American Vernacular English in Black and White Rap LyricsMagnusson, Madeleine January 2008 (has links)
<p>African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers.</p><p>AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns.</p><p>The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.</p>
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"Not Perfect Grammar, Always Perfect Timing" : African American Vernacular English in Black and White Rap LyricsMagnusson, Madeleine January 2008 (has links)
African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers. AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns. The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.
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Translation as a Cultural Act: An Africological Analysis of Medew Netcher from a Jamaican PerspectiveSamuels, Tristan January 2021 (has links)
This study provides a foundational framework for Afrocentric translation. Afrocentric translation in which Afrikan languages and their Pan-Afrikan cultural context, transgenerationally and transcontinentally, are central in the interpretation of Afrikan texts (written or oral) and, thus, ensuring that Afrikan people are the subjects in the episteme of the translation process. The two languages of focus in this study are Medew Netcher, the Kemetic language, and the Jamaican language. The basic grammatical features of Medew Netcher will be explained from an Afrocentric perspective through Jamaican translations. More specifically, the analysis shows that the equational juxtaposition system reflects the Afrikan notion of ontological unity, the verbal paradigm is reflective of the Afrikan notion of time, and it also shows how Afrikan existential concepts of existence and knowledge manifest in the grammar of Medew Netcher and Jamaican. In addition, this study includes the first translation of a Kemetic text in an Ebonics language as an exemplar for large-scale Afrocentric translation of a text. Overall, this study provides a foundational framework for the Africological study of Afrikan language. / African American Studies
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"You Done Lost Yo' Mind Ain't No Such Thang as AAVE": Exploring African American Resistance to AAVEJones, Tiffany Marquise' 18 July 2008 (has links)
John Rickford (1990) states that “80%-90% of African Americans speak some form of Black English”, also known as “Ebonics” or “African American Vernacular English” (AAVE). In 1996, when the Oakland School Board proposed its resolution designating Ebonics as their students’ primary language, many African Americans outright rejected the School Board’s reference and description of their language (Smitherman, 2000, 150). Among them were Baby boomers (1940-1960s), who participated in the debates, and the Generation X’ers, (1960s-1980s), who were informed by the debates. A recent interview of members from both groups show that there is continued skepticism regarding the legitimacy of Ebonics as a language. Their resistance offers much to learn about intergroup relations and conflict. This research explores these components of group identity by examining the in-group language responses to the question of whether Ebonics, AAVE, or Black English is a language.
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Exploring Children's Perceptions of African American EnglishLewis, Tamika L 10 December 2015 (has links)
The differences in attitudes toward African American English (AAE) and Mainstream American English (MAE) were investigated among elementary students (N=34) and middle school students (N=40) using the Speech Evaluation Instrument (SEI). Participants listened to audio recordings of speakers of AAE and MAE and then completed the SEI.
Both elementary and middle school students perceived MAE positively (p =.005), as hypothesized. However, for both hypotheses related to AAE, the researcher hypothesized that both groups would perceive the language negatively; however, in both cases, the researcher failed to reject the null hypothesis. Comparing how each group perceived the two languages, it was found that both groups perceived MAE more positively than they did AAE. With regard to perceptions of AAE, middle school students did not perceive AAE more favorably than elementary students did, as had been hypothesized.
On individual scales of the Speech Evaluation Instrument, both elementary and middle school students perceived speakers of MAE more positively than they did speakers of AAE. Students felt that speakers of MAE were better readers, smarter, and more likely to be rich than speakers of AAE. Although, middle school students were more likely to feel that speakers of MAE were more intelligent and more likely to be leaders than speakers of AAE; elementary students did not feel the same way. For middle school students there was a statistically significant difference in how they perceived speakers of the two languages. Middle school students perceived speakers of MAE to be more helpful, more friendly, nicer, and kinder than speakers of AAE.
The study concluded that both elementary and middle school students perceived MAE more positively than they did AAE. There appeared to be a shift in perceptions the longer students are in school. The study also revealed that perceiving MAE more positively than AAE did not indicate the participants perceived AAE negatively.
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"Jus showin sum luv 2 yo page": The Features, Functions, and Implications of Digital African American LanguageCunningham, Jennifer M. 13 April 2012 (has links)
No description available.
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Critical Language Pedagogy: Linguistic Diversity in the First-Year Composition ClassroomSaternus, Julie 09 June 2014 (has links)
No description available.
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THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCEAvila, Alex 01 June 2016 (has links)
The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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