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THEORETCIAL INSIGHT BASSO, HILL, COMPARE, RACISM - Coggle Diagram

- - - - the whiteman is a social category and a cultural symbol Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.4.
      - models of the whiteman are consistently formulated in relation to corresponding models of the indian, [] the whiteman serves as a conspicuous vehicle for conceptions that define and characterise what the Indian is not Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.5.
      - this essay rests on the premise that Indian models of the whiteman constitute what Clyde kluckhohn once described as cultural portraits of ourselves [analysing these can develop] sharper awareness of the impressions we make upon [culturally different others]
      - when western apaches switch linguistic codes to perform joking imitations of whitemen they do more than simple call into play a social category and its associated values [] they construct models of this category and stage animated representations of the models Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.13
      - each portrayal of the whiteman is a novel creation a personally signed [] they are symbolic inventions [as well as constructions] original Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.14
      - acts of play may be defined as those which are modelled on acts that are not play but which are understood not to communicate what would be communicated by these acts If they were performed unplayfully Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.37
      - a joke after all is a joke and one must be careful not to stretch a relationship too far
    - - lets talk about you, what do you think of me
  - - - languages and language varieties of multilingual speech communities typically exhibit functional differentiation [] they do not alternate randomly between distinct linguistic codes but choose systematically among them and put them to specialised uses Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.47
      - code switching is a linguistic device fro framing verbal messages Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.8
      - language alterations convey messages about what is present in social situations it is equally important to recognise that they may convey messages about what is absent from them aswell Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.11
      - I shall attempt to illustrate a set of informal interpretive procedures informed in part by the recent work of sociolinguistics in part by an American strain of symbolic anthropology and in party bu the dramaturgical model of human communication developed by Erving goffman Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.17
  - - - the joker's relationship with the person who is the object of his joke their relationship has reached a point where its affective component can be publicly tested and affirmed through the exchange of mock insults Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.9
      - a western Apache joker always converts messages about two sets of relationships,1) a present relationship that currently obtains himself and the object of his joke 2) an absent relationship on which the present one is modelled Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.16
      - apache jokers tell their fellows nothing about themselves and anglo Americans that they don't already know or suspect but they tell them about it in a manner that crisply reminds them of its enduring importance and they urge them without really coming out and saying so never to forget it. Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.64
      - the whiteman is a symbol of what the apache is not Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.64
  - - - she was smiling and addressed the dog in English 'bad you bad boy why you do that make trouble for me? you stay here Charles Bronson [dog] don't go outside get punish what you did it. maybe you going to other classroom I tell you mother what you did it' [mother] 'be careful how you joke, its dangerous to imitate a whiteman' Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.10-11
      - the girl and dog are present in the situation angry instructors and troublesome students are no where to be found Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.11
      - the images that they fashion of themselves are images of the whiteman and the framed world of joking becomes a makeshift studio for an expository form of social portraiture Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.13
      - 'dont talk dirty that way my brother its no good no good Jesus pretty soon he gonna get after you send you some bad place [English]' 'i'm leaving [Western Apache] I don't like the way someone is joking me'
      - many people didn't like it they said it sounded bad they said it didn't sound good grown people didn't joke like that right away they waited only children did it. Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.30
      - why do you want to act like a whiteman do you wish you could change the colour of your skin? Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.30
      - what we doing sure looks bad, we don't mean it its good us men call each other anything it don't matter we been going around long time together its good we don't see no danger Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.75
  - - - rapid assimilation into the anglo American society [] economic development of reservations to a point that would provide the Indians with a reliable means of self-support [] opening of schools so that ache children could be instructed in reading, writing and proper etiquette, establishment of churches and the eventual conversion of all Apaches to christianity Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.24
      - despite significant steps in the direction of modernisation most western apaches remain on the fringe of national American society maintaining [] a cultural system and a sense of tribal identity that are distinctively and resiliently their own Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.26
      - from the start apache parents instructed their children not to behave like whiten this injuctinction applied to the speaking of english Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.28
      - later on more white people came and built the school out of red stone [1933] that was when some children started to joke that way, imitating white people Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press, p.30
  - - - the ache joker is able to take moral liberties he cannot take outside it [] he can toy with the butt deliberately making of him or her a temporary plaything, a passive object for the amusement of others [] if the joking frame were not firmly fixed in place the butt and others would be obligated to regard as a deliberate attempt at public humilitation Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.3
      - the joker animates a character [] he portrays a character as well[] he can stage his character in different settings present him in different lights and imbue him with different qualities of attitude, temperament and demeanor Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.43
      - Western Apache jokers pursue invention and interpretation through caricature and hyperbole portraying their characters so as to make them appear ludicrous and ridiculous Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.44
      - epitomisation informed by two major principles contrast and distortion Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.44
      - a person is seen to be ludicrous when the manner in which he does something contrasts so strikingly with how that something should be done or is normally done that he appears totally and hopelessly incompetent Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.47
      - however one chooses to view these performances as little rituals of reversal and inversion of denial and rebellion of affirmation and intensification they are first and foremost expressive vehicles for constructing images of the whiteman Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.60
      - the whiteman can be brought to life at the drop of a Koke and when he is thus epitomised at his inept worst as a loud talking, overbearing self righteous unswervingly presumptuous bumbler you get to see him in a very special way Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.61
      - serious things are always getting said in what appear to be unserious ways and apache jokers I have been implying all along have developed this practice into something of an art Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.63
      - by presenting the behaviour of anglo Americans as something laughable and wrong by displaying with the help of butts how and why it violates the rights of others they denounce these standards as morally deficient and unworthy of emulation Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.64
      - the reversible world of play the products of solidarity and commitment joking imitations are inverted celebrations of them as well Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.76
  - - - calling someone by name is sometimes likened to temporarily borrowing a valued possession. ][ rights of borrowing imply friendship and solidarity, so do rights of naming [] understood as a marker of social relationships characterised by trust and goodwill. the right to name must be excercised judiciously because persons who name too much like persons who borrow too often can be justly accused of engaging in an obsequious form of exploitation that violates the rights of others Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.50
      - leads them to the premature use of expressions such as my friend Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.51
      - western apaches aree careful to avoid touching each other in public [] backslapping and vigorous handshaking are regarded as direct and unwarranted encroachments upon the private territory of the self Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.51
      - as one of my consultants put it "white men touch each other like they were dogs" Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.51
      - to insist that the visitor come inside, to command him, is to overrule his right to do as he chooses implying he is a person of little account whose wishes can be safely ignored, "when you talk to people like this you run over them, you make them feel small" Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.52
      - everyone is accordied the right to take plenty of time before speaking it is also considered discourteous to request or demand replies Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.53
      - carefully considered replies to questions are invariably more reliable Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.53
      - they allude to the possibility of misfortune [] often and in [] casual fashion, a practice that gives rise to the bizarre impression that white men are eager to experience hardship and disaster Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.53
      - [commenting on appearance] one has been the subject of a close but covert examination and that something added weight an item of clothing a cut or bruise has been found wanting or out of the ordinary Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.54
      - white men are deeply absorbed with the surfaces of themselves an obsession that stems from the powerful need to be publicly persued and to be regarded as separate and distinct from other people Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.54
      - he thinks you looking him over like he's some cattle in a corral Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.54
      - they are forcefully struck by the speech of Anglo-Americans which is regularly described as being too fast too loud and too tense [] 'whitemen are angry even when they're friendly' Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.55
      - suddenly for whatever reason doubt intrudes upon the fragile world of play and the butt suspects that the joker may be hiding behind his joke[] his joke, which is a joke no more, is taken as a personal affront, an authentic insult, a camouflaged expression of score, a relationship has been stretched too far and it tears Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.72
      - jokers must be careful for however paradoxical it may be, men like buckskins may suffer damage fro too much playful abuse and as an apache from cibecue remarked whitemen can make trouble even when they're not around Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.76
      - when a people can laugh at themselves and others and hold all aspects of life together without letting anybody drive them to extremes then it seems to me that people can survive Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.79 [Vine Deloria, Jr. (Custer Died for Your Sins: An Indian Manifesto)]
  - - - apaches point out because stiff relationships like untanned hides can easily be cracked and are frequently difficult to mend Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.68
      - soft relationships, like supple buckskins are vulnerable to tears they can usually be mended without excessive effort.Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.68
      - same way it is with people around here [] with them its like this deride too stiff, don't count on these people right away even your own young relatives, maybe they want want to help you so you got to work on them like im working on this dried up deerhide Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.68
      - just talk good that's the right way then after a while you can start to fool around then it don't matter too much its like pulling on some buckskin you do that and you just make it softer Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.69
      - come out or don't say nothing to men that's why you just got to go easy on it you don't go easy and somebody's going to get mad thats danger Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.69
      - just as the worker of derides should not attempt to hasten the tanning process by taking shortcuts or leaving out essential stops so should the parties to freshly founded social relationships allow ample time to pass before they start to joke Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.70
      - maybe they don't want it maybe they get mad think you hiding, with them you got to wait, after that you can try some joking go easy on it Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.70
      - people who rise above others should no t look down, people who know what's right treat everyone the same. the characters portrayed in joking imitations of anglo Americans are cited by apaches as prime examples of people who look down Basso, K., 1979. Portraits of the Whiteman, Linguistic Play and Cultural symbols among the Western Apache. Cambridge: Cambridge University Press p.71
- - - - ways of speaking that whites do not understand as racist but which works to reproduce negative stereotypes of people of colour in this case members of historically Spanish speaking populations in the United States Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.119.
      - another kind of evidence that this language is covert and invisible as racist is the absence of public reaction Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.120
      - formal and informal pressure to exclude Spanish from public space in the United States is intense and takes many forms Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.126
      - to say that a metaphor is constitutive means that is creates our understanding rather than merely elaborating it. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.127
      - metaphors have remained invisible because they reflect the foundational role of racism in white American worlds they are visible only too people who are outside that system Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.128
      - I suspect that its function in white racism remains covert partly because it works by indexicality a semiotic process that is not highlighted in white American linguistic ideology Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.129
      - All Spanish words that appear in Mock Spanish are targets for semantic pejoration. They need not necessarily be insults, but they cannot be in any way formal or serious. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.137
      - Spanish and its speakers are assigned to the lower, colored levels of the racial hierarchy, and material and symbolic resources are appropriated from them for the purposes of Whites. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.157
  - - - The Mock Spanish tag line “Hasta la vista, baby” was made famous by Arnold Schwarzenegger in the 1992 film Terminator II: Judgment Day. [] the pleasure of the phrase requires access to a negative stereotype of Spanish speakers as treacherous and insincere Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.120
      - a website that offers a wide range of paraphernalia expressing right wing political views one can purchase for $15 an anti-immigrant st-shirt that says "ok you snuck in, Speak English" Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.123
      - In the 1980 comedy film Airplane, as the catastrophe begins, warning lights come on over the seats, with the “bilingual” message seen in "no smoking, el no a you smoko, fasten seatbelts, putana da seatbeltz" Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.124
      - on overhearing someone speaking a foreign language on aggressively confronts them and insists "this is America, we speak English here!" Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.124
      - “I think the national anthem ought to be sung in English, and I think people who want to be a citizen of this country ought to learn English and they ought to learn to sing the national anthem in English” (Bush: Anthem Should Be Sung in English 2006). Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.125
      - On October 18, 2005, the Secretary of Homeland Security, Michael Chertoff, made the statement in “We are moving to end the old ‘catch-and-release’ style of border enforcement, increasing removals by tens of thousands a year” (Mann 2005). Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.127
      - mock spanish a set of tactics that speakers of American English use to appropriate symbolic resources from spanish [] Spanish loan words like macho “male,” cerveza “beer,” and mañana “morning, tomorrow,” expressions like hasta la vista “until we meet again,” and even a few morphological elements such as the Spanish definite article el Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.128
      - “The Star mixes languages every day, just as many Southern Arizonans do...Editors saw ¡Vamos! as an extension of a line that is already blurred, and blurred mostly by English speakers for their own purposes, which is to give what they’re doing a sense of place. That was the editors’ goal with ¡Vamos!” (Kornmiller 2007b). Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.133
      - the early 1990s Camel cigarettes were advertised on billboards in Latino- dominant neighborhoods with a picture of the character Joe Camel and the caption Un tipo suave, “a cool guy.” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.134
      - The word appeared in the meaning “Goodbye and good riddance” in the astonishing context of an advertisement for a training course for human resources professionals: “Sexual Harassment Training in Spanish – Adios to Lawsuits.” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.135
      - Another widely used product of semantic pejoration is “nada,” which in Spanish means, simply, “nothing,” but in Mock Spanish means “absolutely nothing, less than nothing.” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.136
      - Spanish words for money like “dinero” or “pesos” imply that the items thus priced are bargains.Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.136
      - corona beer is the drinko for cinco Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.138
      - George W. Bush is famous for giving nicknames to friends and subordinates, and many of those that have been published are Mock Spanish. Among those recorded are “Pablo” for his first treasury secretary, Paul O’Neill, “Camarones” for Carl Cameron, a correspondent for Fox News, and “El Grande Jorge” for Congressman George Miller of California. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.146
      - “Muchos smoochos”? [on a greeting card with an image of Snoopy]. These playing on words, sometimes these are very demeaning. I don’t know, I have a hard time with that.” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.155
      - a, a macho, a, Machismo was a very comprehensive person that could communicate, uh, that could show his emotions and express them; once it crossed the border it changed its whole definition to being sarcastic, egotistic, narcissistic. I’m gonna drink you under the table and how many women can I–.” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.156
  - - - the same racist attitudes that led Mexican Americans to be evaluated as backward superstitious treacherous and dirty were reflected in evaluations of their language assigned a place as illiterate and ungrammatical "border Spanish" [] holds its speakers back from the benefits of the full modernity that could be obtained through englihs Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.122
      - the rejection of Spanish as a language that is valid in public space is evident as well in gross grammatical errors in public notices of all types Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.123
      - For instance, “lariat,” from Spanish la reata, treats the definite article and the noun as a single word, which is a symptom of very restricted language contact. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.130
      - Vowels change their qualities to fit the English canon. Thus Spanish “e” in final position, as in “adobe,” becomes /iy/ rather than /ey/, since English does not have /ey/ in unstressed word-final position in native vocabulary. Under stress, it remains /ey/, as in [how􏰀zey] “José” – a pronunciation which provides the Mock Spanish fixed expression “No way, José.”
        Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.140
      - Mock Spanish, with its utter neglect of Spanish grammar and its distanc- ing from Spanish phonology, creates a linguistic space for what I have called “orderly disorder” (Hill 1998). This space is “orderly” because it is part of a larger, cultural order where Spanish has been assigned a non-serious func- tion, and disorderly because in it Spanish loses the grammatical constraints indigenous to it. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.149
  - - - Santa Ana follows Lakoff (Lakoff 1987; Lakoff and Johnson 1980), arguing that IMMIGRANTS ARE ANIMALS is a constitutive metaphor “that reproduces a view, with all the entailments, and most importantly the political and social consequences to disparage human beings. Its dominant use thus sustains the racist world view” (Santa Ana 1999:217). Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.127
  - - - functions are accomplished almost entirely through the semiotic process known as indexicality [] one of three major relationships between sign and its object [] the others are iconic or symbolic relationships Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.142
      - an indexical sign or index is grounded in an object that is connected to it and recognised as a sign for it by proximity continuity or necessity Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.142
      - iconic signs are grounded in their objects by resemblance for instance a map resembles the territory for which it stands Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.142
      - symbols are grounded by convention: the word cat is a sign referring to the animal because the English speaking community is committed to this denotative value for the sound sequence Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.143
      - social-indexical functions can become the objects of “metapragmatic awareness,” where speakers develop views on appropriate usage and can discuss these. [] Most English speakers are aware in a general way of the positive functions of Mock Spanish in enhancing White identities, but oblivious to its negative functions of denigration, marginalization, and racist stereotyping. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.144
      - I have never met a speaker from an English-language heritage who suggested that anyone might object to Mock Spanish, or who believed that using Mock Spanish might be a way to reshape and control the Spanish language, or who was willing to admit that Mock Spanish might play a part in denigrating and marginalizing Spanish and its speakers. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.147
      - They carry a very heavy burden of history, of the voice of White racism, which evokes and reinforces the fictional property of the world, the Banana Republic, that is White racism’s creation. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.153
      - “The naughty laziness in my stance is like the laziness and irresponsi- bility of a Spanish speaker, someone who would, in the baptismal moment, have said mañana (the ‘real’ Spanish word).” Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.154
      - The positive stances and identi- ties entailed in Mock Spanish support the project of White virtue. But the negative entailments, the racist stereotypes, undercut that project, and undercut it in a way that is both unintelligible within the folk theory of racism and deeply threatening. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.154
      - the idea that if Spanish is to be “American,” it cannot sound like Spanish, and it cannot be serious. Hill, J., 2008. Covert Racist Discourse, Metaphors, Mocking and the Radicalisation of Historically Spanish-Speaking Populations in the United States. The Everyday Language of White Racism, p.157
    - - indexical of speaker's alignment, identity, marginalises Spanish, reproduces negative stereotypes of Spanish language and heritage, controls Spanish symbolic resources and reappropriates to white interest
- - - - at least four of the women murdered in atlanta on march 16 were above the age of 50, two of these women were around the age of 70 [] they came in an age of empire built on the sexual exploitation of women
  - - - page act of 1875 which prohibited chinese women from entering the US by classifying them as prostitutes and casting them as a threat to american morality
      - These histories lay bare the racist notion that American men require “comfort” in the form of sexual exploitation of Asian women.
  - - - The military slang for R&R reflects the troubling history of this program in the deeply misogynist language used by American soldiers: “rock and ruin,” “rape and run,” and “rape and restitution.”
- - - - in full metal jacket a critically acclaimde film about the vietnam war theres a two minute long scene whose cultural legacy has endured far beyond its 1987 debut, a vietnamese woman clad in a miniskirt and hot pink tank top sashays up to a few american GIs "me so horny, me love you long time" she says running her hands over her body for $10 each the GIs can get everything they want
      - ive been cornered on the street as men say me love you long time, ive been offered money for a happy ending massage
      - one moment she was the epitome of submissiveness playing into bond's sexual pleasure, the next she posed a threat to his life. she revealed herself as duplicitous cold and morally bankrupt [] whats fascinating about the figure of the asian woman is this coexistence of the powerful forces of the sex drive and the death drive
      - oh great theyre so powerful but theyre also violent and hyper-sexualised [] asian women are rarely given a personality beyond this extreme, sexualised form of aggression theyre mysterious and unknowable and necessarily less deserving of empathy
  - - - if theyre thought of as prostitutes and sex workers then theyre objects to be purchased, to be had but not subjects to know and respect and understand, Nancy Wang Yuen sociologist
      - so many times in the media we see the romantic pairing of white men and asian women said lopez describing the trope of the lotus blossum, the asian woman is very quiet and submissive and can't speak for herself oftentimes the plot revolves around her literally needing to be saved
  - - - they were characterised as potentially carrying sexual diseases they were also characterised as being temptations for white men said yuen. in this way the country's first ever restrictive federal immigration law [page act 1875 prevents oriental prostitute immigration] cemented a double edged trop of asian women, not only as prostitutes but also as forever foreigners
      - america's endless military presence in asia from japan to vietnam to the phillipines has resulted in the occupation of asian women's bodies as much as the occupation of land, the uneven power dynamic between american soldiers and asian sex workers mean that these relationships are generally exploitative premised on the idea of unlimited sexual access to asian women
      - another version of yellow peril which pits a scheming malevolent asia against the innocence of the west
- - - - people who are in any way significantly different from the majority them rather than us are frequently exposed to this binary form of representation. they seem to be represented through sharply opposed, polarised, binary extremes - good/bad, civilised/ primitive, ugly/ excessively attractive, repelling because different / compelling because strange and exotic Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.229.
      - we can see similar representational practices and figures being repeated with variations from one text or site of representation to another this accumulation of meanings across different texts where one image refers to another or has its meaning altered by being read in the context of other images is called intertextuality
  - - - the argument that we need difference because we can only construct meaning through dialogue with the other [] Mikhail Bahktin [] studied language as not as the saussureans did as an objective system but in terms of how meaning is sustained in the dialogue between two or more speakers Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.235.
      - the word in language is half somebody else's, it becomes ones own only when the speaker appropriates the word adapting it to his own semantic expressive intention [] the word does not exist in a neutral or impersonal language rather it exists in other people's mouths, serving other people's intentions, it is from there that one must take the word and make it one's own (Bakhtin, 1981 [1935], pp. 293-4). Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.235.
      - meaning arises through the difference between the participants in any dialogue. the other in short is essential to meaining Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.236
      - what it means to be british or russian or jamaican cannot be entirely controlled by the british russians or jamaicans but is always up for grabs always being negotiated in the dialogue betweem these national cultures and their others Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.236
  - - - the argument here is that culture depends on giving things meaning by assigning them to different positions within a classificatory system the marking of difference is thus the bias of that symbolic order which we call culture [] social groups impose meaning on their world by ordering and organising things into classificatory systems (Douglas, 1966) Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.236.
      - what really disturbs cultural order is when things turn up in the wrong category or when things fail to fit into any category [] mixed race mulattoes who are neither white nor black but float ambiguously in some unstable dangerous hybrid zone of interdeterminacy in between (Stallybrass and White, 1986) Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.236
      - marking difference leads us symbolically to close ranks shore up culture and to stigmatise and expel anything which is defined as impure, abnormal. paradoxically it also makes difference powerful strangely attractive precisely because it is forbidden, taboo threatening to cultural order thus what is socially peripheral is often symbolically centred (Babcock, 1978, p. 32).
        Hall, S., 2013. Representation, The Spectacle of the Other. London: Sage, p.237
- - - - the latter almost always plays an exterior role where the object being re-presented is rendered submissive and subservient Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.19
      - we give things meaning by how we represent them the words we use anout them the stories we tell about them the images of them we produce the emotions we associate with them the ways we classify and conceptualise them the values we place on them Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.20
      - for the subject being represented or rather reduced and decontextualised as Said puts it it is a form of confinement estrangement and disorientation Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.20
      - what all these instances those of the connotations share is the semiotic principle that something standing for something else or that some person or group is speaking on behalf of some other persons or groups Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.21
  - - - by dint of their cinematic instruments they are the meaning maker and dispenser who endows the shots with their shape, contour, movement or lack of it and language [] their camera is an omniscient eye that sees without ever being seen, it is this filmmaker who can see and control its movement from a panoptic position to breath life into a mummified orient Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.19
      - the exclusion of the other, the subaltern, is part of the exteriority of representation []Said argues that it is always governed by some version of the truism that if the orient could represent itself, it would; since it cannot, the representation does the job for the west, and faute de mieux for the poor orient Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.21.
      - since the oriental was a member of a subject race he had to be subjected it was that simple Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.21
      - the west is featured in these movies as a fancy land of civilisation for which all peoples crave Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.23
  - - - any negative behaviour by any member of the oppressed community is instantly generalised as typical as pointing to a perpetual backsliding toward some presumed negative essence, representation thus becomes allegorical withinn hegemonic discourse every subaltern performer/role is seen as synecdochially summing up a vast but putatively homogeneous community Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.22
      - hollywood in this sense relies on cultural production to produce images about the self - west as the land of great ideas opportunities and freedom and about the arabs as savage autochthones of the desert this consequently shapes and determines the image that eastern audiences have of the west. Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.23
      - while it is certainly true that the media are far better equipped to deal with caricature and sensation than with the slower process of culture and society, the deeper reason for these misconceptions is the imperial dynamic and above all its separating, essentializing, dominating, and reactive tendencies.Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.27
  - - - Sheik Steps Out (1937) that “They [Arabs] look alike to [her]” [9]. He gives another instance of the protagonist in Commando (1968) who acknowledges that “All Arabs look alike to [him].” He gives yet another example in reconfirmation of the above, making a recursive statement which sounds almost like a fact: “I can’t tell one [Arab] from another. Wrapped in those bed sheets, they all look the same to me” (US Ambassador in Hostage 1986) Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.22
      - Babel (2006), a Hollywood film first released in 2006. It narrates a story that takes place in four different countries, Morocco, Mexico, Japan, and the United States. The very first shot of the film shows a Moroccan in his dirty traditional garb, walking in a vast rugged terrain devoid of any sign of life. Later, he reaches a house that bears the resemblance of a cave. Morocco is screened as a land of wilderness, emptiness and nothingness, and Moroccans themselves are presented as primitive and uncivilised. [] Morocco here is depicted as a source of violence where even children know how to use rifles naturally and without any prior training Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.25
      - Political immaturity is ironically ubiquitous in recently made Hollywood films including, for instance, Larry Charles’ The Dictator (2012). Aladeen (Sacha Baron Cohen) is introduced to the audience as an immature dictator, who enjoys playing games in overly critical and untimely situations.Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.25
      - The beginning of the film introduces its audiences to General Aladeen’s quirk and queer hobby, which is making love with all sorts of famous people, regardless of their gender. Shot 00’13’’46’’ (see Fig. 3) shows Admiral General Aladeen proudly looking at all of them in the thousand photos on his golden wall. Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.25
      - A dictator or a general is a clear token of hunger for power, but this time an Arab general has an insatiable hunger and thirst for sex, which he elevates to the epicentre of the world. [] The West is the land of freedom where influential Arabs satisfy their libidos through bestiality, sodomy, masturbation and aberrant sex. Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.26
  - - - orientalism has created a representation of the orient which serves to justify the actions of the occident Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.23
      - To be non-Western (the reifying labels are themselves symptomatic) is ontologically thus to be unfortunate in nearly every way, before the fact at worst a maniac, and at best a follower, a lazy consumer who, as Naipual somewhere, can use but could never have invented the telephone. Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.27
      - This ‘reality’ becomes a discourse ready to be disseminated. The discourse is itself loaded with different ideologies that would target the audiences’ perception of reality. Now, the image produced about the Arabs as a singular reality is not only consumed by Western audiences. Hollywood’s huge budget makes it reach the Arabs themselves. Chahdi, C., 2018. Revisiting Binarism: Hollywood’s Representation of Arabs. International Letters of Social and Humanistic Sciences, 83, pp.28