Marcyliena Morgan
Biographic Data
| ID | 3636396 |
|---|---|
| NAME | Marcyliena Morgan |
| GIVEN NAMES | Marcyliena |
| FAMILY NAME | Morgan |
| SIGNATURE | MORGAN M |
| AFFILIATIONS | Harvard University Press |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 80 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 5 |
Indirectness and interpretation in African American women’s discourse
Preview this article: Indirectness and interpretation in African American women’s discourse, Page 1 of 1 /docserver/preview/fulltext/prag.1.4.01mor-1.gif
Counterlanguage powermoves in African American women’s language practice
This essay considers some of the insight we have gathered about language, feminism, racism and power. In many respects, it celebrates the linguistic power of the many theories about how Black women navigate intersectionality where racism and sexism intermingle, suggesting that our analyses should always recognise that a lethal combination of factors are in play. Black women, in particular, actively insist on forms of language and discourse that b…
Language Socialization Through Hiphop Culture: ‘Real’ knowledge and counterlanguage ideology
The world is yours: The Globalization of Hip-Hop Language
This article is † This quote is from Nas (aka Nassir Jones) 1994 ‘The World is Yours' Illmatic, Columbia Records. It is the response to the song's refrain, ‘Whose world is this?' This article is partially based on Marcyliena Morgan and Dionne Bennett (2011) ‘Hip-Hop and the Global Imprint of a Black Cultural Form’, Daedalus vol. 140, no. 2, pp. 176–196 and Marcyliena Morgan and Dawn Elissa Fischer (2010) ‘Hiphop and Race: Blackness, Language and …
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to wor…
The presentation of indirectness and power in everyday life
When and where we enter
This article concerns the place of race and social class in establishing norms of usage in the study of language and gender. It argues for descriptions of women’s language that incorporate their multilayered race and class realities. In particular, it argues that notions of ‘normal women’s speech’ are often unmarked regarding race and class. These norms contribute to stereotypes of the speech of black and working class women. It asks the question…
Getting Off of Black Women's Backs: Love Her or Leave Her Alone
In Finding Oprah's Roots (2007), featuring Henry Louis Gates, Jr.'s search for answers to questions about Black genealogy, Gates explains that one of Oprah's grandfathers stopped his formal schooling at an early age to work on a plantation so that he could help provide an education and opportunity for his sister instead. The grandfather did this in an attempt to protect his sister so that she could escape rape and other forms of gender oppression…
Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity
Research Article| July 01 2005 Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity Marcyliena Morgan Marcyliena Morgan Search for other works by this author on: This Site Google South Atlantic Quarterly (2005) 104 (3): 425–444. https://doi.org/10.1215/00382876-104-3-425 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Marcyliena Morgan; Hip-Hop Women Shredding the Veil: Rac…
Preserving hip hop culture
(2004). Preserving hip hop culture. Socialism and Democracy: Vol. 18, Hip Hop, Race, and Cultural Politics, pp. 207-214
Language, Discourse and Power in African American Culture
African American language is central to the teaching of linguistics and language in the United States, and this book, in the series Studies in the Social and Cultural Foundations of Language, is aimed specifically at upper level undergraduates and graduates. It covers the entire field - grammar, speech, and verbal genres, and it also discusses the various historical strands that need to be identified in order to understand the development of Afri…
Shout-Outs to the Ancestors: “Here Come the Drum”
No Woman No Cry: Claiming African American Women’s Place
My work requires me to think about how free I can be as an African-American woman writer in my genderized, sexualized, wholly racialized world. To think about (and wrestle with) the full implications of my situation leads me to consider what happens when other writers work in a highly and historically racialized society. For them, as for me, imagining is not merely looking or looking at; nor is it taking oneself intact into the other. It is, for …
Community
Blacked Out: Dilemmas of Race, Identity, and Success at Capital High
Blacked Out: Dilemmas of Race, Identity, and Success at Capital High. Signithia Fordham. Chicago: University of Chicago Press, 1996. 411 pp
Conversational signifying: Grammar and indirectness among African American women
Introduction This paper examines conversational signifying, a practice fundamental to African American communication and identity. Though various forms of signifying have been previously investigated, no studies have explored how signifying is conversationally constructed through the systematic use of particular grammatical, prosodic and discursive structures to convey indirect messages. Women's interactions are the focus of this analysis not onl…
Language and the Social Construction of Identity in Creole Situations
Theories and Politics in African American English
Infrastructures are material forms that allow for the possibility of exchange over space. They are the physical networks through which goods, ideas, waste, power, people, and finance are trafficked. In this article I trace the range of anthropological ...Read More
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to wor…
Theories and Politics in African American English
Infrastructures are material forms that allow for the possibility of exchange over space. They are the physical networks through which goods, ideas, waste, power, people, and finance are trafficked. In this article I trace the range of anthropological ...Read More
Getting Off of Black Women's Backs: Love Her or Leave Her Alone
In Finding Oprah's Roots (2007), featuring Henry Louis Gates, Jr.'s search for answers to questions about Black genealogy, Gates explains that one of Oprah's grandfathers stopped his formal schooling at an early age to work on a plantation so that he could help provide an education and opportunity for his sister instead. The grandfather did this in an attempt to protect his sister so that she could escape rape and other forms of gender oppression…
The presentation of indirectness and power in everyday life
Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity
Research Article| July 01 2005 Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity Marcyliena Morgan Marcyliena Morgan Search for other works by this author on: This Site Google South Atlantic Quarterly (2005) 104 (3): 425–444. https://doi.org/10.1215/00382876-104-3-425 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Marcyliena Morgan; Hip-Hop Women Shredding the Veil: Rac…
The world is yours: The Globalization of Hip-Hop Language
This article is † This quote is from Nas (aka Nassir Jones) 1994 ‘The World is Yours' Illmatic, Columbia Records. It is the response to the song's refrain, ‘Whose world is this?' This article is partially based on Marcyliena Morgan and Dionne Bennett (2011) ‘Hip-Hop and the Global Imprint of a Black Cultural Form’, Daedalus vol. 140, no. 2, pp. 176–196 and Marcyliena Morgan and Dawn Elissa Fischer (2010) ‘Hiphop and Race: Blackness, Language and …
When and where we enter
This article concerns the place of race and social class in establishing norms of usage in the study of language and gender. It argues for descriptions of women’s language that incorporate their multilayered race and class realities. In particular, it argues that notions of ‘normal women’s speech’ are often unmarked regarding race and class. These norms contribute to stereotypes of the speech of black and working class women. It asks the question…
Counterlanguage powermoves in African American women’s language practice
This essay considers some of the insight we have gathered about language, feminism, racism and power. In many respects, it celebrates the linguistic power of the many theories about how Black women navigate intersectionality where racism and sexism intermingle, suggesting that our analyses should always recognise that a lethal combination of factors are in play. Black women, in particular, actively insist on forms of language and discourse that b…
Community
Theories and Politics in African American English
Infrastructures are material forms that allow for the possibility of exchange over space. They are the physical networks through which goods, ideas, waste, power, people, and finance are trafficked. In this article I trace the range of anthropological ...Read More
Language and the Social Construction of Identity in Creole Situations
Conversational signifying: Grammar and indirectness among African American women
Introduction This paper examines conversational signifying, a practice fundamental to African American communication and identity. Though various forms of signifying have been previously investigated, no studies have explored how signifying is conversationally constructed through the systematic use of particular grammatical, prosodic and discursive structures to convey indirect messages. Women's interactions are the focus of this analysis not onl…
Blacked Out: Dilemmas of Race, Identity, and Success at Capital High
Blacked Out: Dilemmas of Race, Identity, and Success at Capital High. Signithia Fordham. Chicago: University of Chicago Press, 1996. 411 pp
No Woman No Cry: Claiming African American Women’s Place
My work requires me to think about how free I can be as an African-American woman writer in my genderized, sexualized, wholly racialized world. To think about (and wrestle with) the full implications of my situation leads me to consider what happens when other writers work in a highly and historically racialized society. For them, as for me, imagining is not merely looking or looking at; nor is it taking oneself intact into the other. It is, for …
Community
Shout-Outs to the Ancestors: “Here Come the Drum”
Language, Discourse and Power in African American Culture
African American language is central to the teaching of linguistics and language in the United States, and this book, in the series Studies in the Social and Cultural Foundations of Language, is aimed specifically at upper level undergraduates and graduates. It covers the entire field - grammar, speech, and verbal genres, and it also discusses the various historical strands that need to be identified in order to understand the development of Afri…
Preserving hip hop culture
(2004). Preserving hip hop culture. Socialism and Democracy: Vol. 18, Hip Hop, Race, and Cultural Politics, pp. 207-214
Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity
Research Article| July 01 2005 Hip-Hop Women Shredding the Veil: Race and Class in Popular Feminist Identity Marcyliena Morgan Marcyliena Morgan Search for other works by this author on: This Site Google South Atlantic Quarterly (2005) 104 (3): 425–444. https://doi.org/10.1215/00382876-104-3-425 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Marcyliena Morgan; Hip-Hop Women Shredding the Veil: Rac…
Getting Off of Black Women's Backs: Love Her or Leave Her Alone
In Finding Oprah's Roots (2007), featuring Henry Louis Gates, Jr.'s search for answers to questions about Black genealogy, Gates explains that one of Oprah's grandfathers stopped his formal schooling at an early age to work on a plantation so that he could help provide an education and opportunity for his sister instead. The grandfather did this in an attempt to protect his sister so that she could escape rape and other forms of gender oppression…
When and where we enter
This article concerns the place of race and social class in establishing norms of usage in the study of language and gender. It argues for descriptions of women’s language that incorporate their multilayered race and class realities. In particular, it argues that notions of ‘normal women’s speech’ are often unmarked regarding race and class. These norms contribute to stereotypes of the speech of black and working class women. It asks the question…
The presentation of indirectness and power in everyday life
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to wor…
The world is yours: The Globalization of Hip-Hop Language
This article is † This quote is from Nas (aka Nassir Jones) 1994 ‘The World is Yours' Illmatic, Columbia Records. It is the response to the song's refrain, ‘Whose world is this?' This article is partially based on Marcyliena Morgan and Dionne Bennett (2011) ‘Hip-Hop and the Global Imprint of a Black Cultural Form’, Daedalus vol. 140, no. 2, pp. 176–196 and Marcyliena Morgan and Dawn Elissa Fischer (2010) ‘Hiphop and Race: Blackness, Language and …
Language Socialization Through Hiphop Culture: ‘Real’ knowledge and counterlanguage ideology
Counterlanguage powermoves in African American women’s language practice
This essay considers some of the insight we have gathered about language, feminism, racism and power. In many respects, it celebrates the linguistic power of the many theories about how Black women navigate intersectionality where racism and sexism intermingle, suggesting that our analyses should always recognise that a lethal combination of factors are in play. Black women, in particular, actively insist on forms of language and discourse that b…
Indirectness and interpretation in African American women’s discourse
Preview this article: Indirectness and interpretation in African American women’s discourse, Page 1 of 1 /docserver/preview/fulltext/prag.1.4.01mor-1.gif
Sociology (15 works) · Political science (9 works) · Gender Studies (8 works) · Multilingual Education and Policy (8 works) · Politics (8 works) · Aesthetics (7 works) · Language, Discourse, Communication Strategies (7 works) · Law (7 works) · Linguistics (7 works) · Psychology (7 works)