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Essay on african american vernacular
Essay on african american vernacular
Essay on african american vernacular
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The debate about African American English has continued to gain a lot of scholarly attention; this fact has led to many studies concerning the history and the construction of this language to be conducted. Moreover, the African American English has gained popularity during the 21st century and has continued to be used in creating music lyrics for rap and r’n’b. On the other hand, throughout the history of African American Vernacular English it has had many different names including Negro English, Ebonics, Negro American dialect and Black English among others. Besides the language having many names, it has also been associated with many different cultures and people. This essay paper will examine and outline the origin and the development of the African American Vernacular.
It is apparent that African American Vernacular English is a variety of speech that was adopted from the working class descendants of the United States slaves in the colloquial contexts. Apparently, the distinctiveness of the AAVE has invited much speculation about its origins, for instance, for many years, the central question of whether the language evolved from a prior creole has remained debatable. On the other hand, the question of whether the language has its roots in English has not been fully dealt with. In order to resolve these questions, researchers have sought to understand the origin and the development of AAVE language by examining the historical attestations and the synchronic transplanted varieties. The most important historical attestations are from the recordings of the former slaves who learned the language in the middle of the nineteenth century. Researchers have used the African American Diaspora as the source of their finding of the or...
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...e used in a single sentence.
(xiii) Ain’t nothing you can’t do. (‘There isn’t anything that you can’t do.’)
There is, also, the use of ain’t in AAE to negate a sentence with copula deletion or to negate a sentence in the past tense.
(xiv) They ain’t going to the show. I ain’t know the girl. (‘They aren’t going to the show. I didn’t know the girl.’)
Questions
Questions can be formed without using auxiliaries at the beginning of sentences.
(xv) You know his name? (‘Do you know his name?’)
However, DO can be used in a sentence initial position but then it denotes habitual action.
(xvi) Do it be dark? (‘Is it usually dark?’)
Relative clauses
Relative clauses are not obligatory to introduce with a relative pronoun such as ‘that’ or ‘who’ like in Standard English.
(xvii) We got one girl be here every night. (‘There is one girl who is here every night.’)
Dunbar’s usage of this feature is shown much throughout the poem such as in line twenty three “Mammy an’ pappy do’ want him no mo’,”. The use of “ain’t” as a general preverbal negator is another feature of African American Vernacular, Dunbar expresses this trait in line twenty seven “He ain’t no tramp,”. Dunbar’s poem also has multiple negations which are a regular trait of African American Vernacular. In line twenty seven this is shown, “ner no straggler, of co’se;” “Little Brown Baby” also shows many phonological features of African American
Allison Joseph asks many questions in this poem bring a black American and how someone of the black community is expected to speak. Some of these questions include, “Was [she] supposed to sound lazy, / dropping syllables here and there/ not finishing words but/ slurring their final letters/ so each sentence joined/ the next, sliding past the listener?”(34-39), and “Were certain words off limits, / too erudite for someone whose skin/ came with a natural tan?” (40-42).
Smitherman is certainly qualified to address her colleagues about the treatment of “Black English” in academia, but with such a charged writing style it is possible that her audience would not make it to her conclusion. Smitherman assumes that the general base of her audience are “White English” speakers that can understand “Black English”. She also assumes that all African Americans speak the same way. These assumptions are her first major problem. At the time of this articles publication in 1973, it is conceivable that certain scholars would have ignored the piece because of its hybrid u...
Speech is a very influenced africanism in America. A word commonly used today by all races in America is the word “okay”, a Mande and Wolf term that means “that’s it” (Holloway 57). Ebonics is often tied back to african roots of west african language. Both lack the sounds and final consonant clusters (e.g. past), and that replacing or simplifying these occurs both in US Ebonics and in West African English varieties spoken in Nigeria and Ghana. Moreover, they argue that the distinction made between completed actions ("He done walked") and habitual actions ("We be walkin") in the Ebonics tense-aspect system reflects their prevalence in West African language systems and that this applies to other aspects of Ebonics sentence structure.
...e, Geneviève, and Armin Schwegler. Creoles, Contact, and Language Change: Linguistics and Social Implications. Amsterdam: John Benjamins Pub., 2004. Print.
When discussing the poetry of the Harlem Renaissance, due to the strength of their relationship, one must look at Blues and Jazz. Many viewed this genre as a voice for the black communities and as “the New Negro poets expressed a deep pride in being Black” (Smith, 1983, p. 37) it is easy to see how this influenced their poetry. The main theme of Blues were the troubles of life and finding an escape, and this underlying dissatisfaction was incorporated into poetry as a response to many of the injustices present. For example, a clear example of this is Langston Hughes’ Homesick Blues which uses many of the key techniques from Blues songs, such as short lines to create urgency. The poem discusses the effect of prejudices and injustices on the black communities, especially when it comes to finding a home and an identity. There is a subtle, irregular rhyme scheme from words such as “sun… done” (Ramazani, 1994, pp. 152-3) which strengthens the influence. The dull, full rhymes create a sense of dissatisfaction and boredom, as if the speaker has given up on life. Hughes similarly uses many colloquialism and phonetics, which were common in Blues songs, such as “De Railroad Bridge/ a sad song in de air” (Ramazani, 1994, pp. 152-3), which furthers racial pride and identity, present in Blues and Harlem Renaissance poetry. However, perhaps the strongest example of how the Blues genre infl...
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Throughout American history there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community. Signifying, testifying, shining of the Titanic, the Dozens, school yard rhymes, prison ?jail house? rhymes and double Dutch jump rope rhymes, are some of the names and ways that various forms of raps have manifested. Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music (George, 1998)....
Many times throughout history and especially in society today individuals are morphing their voice to fit into what the world desires of expects of them. In other words, the path is reversed where the assumed and stereotypical identity of society is used for individuals to fit themselves and their language into this mold. An example of this societal issue is also displayed in Louis Harm’s article. In it, he discusses the lack of traditional African language in regards to upper societal recognition due to social elites who have made other languages such as English and French more prominent and influential in hopes of morphing citizens around them to alter their voice. In contrast to the accumulative stained glass masterpiece of individual identities discussed earlier, the African situation causes the individual pieces to morph into completely different forms that can no longer come together. All the pieces attempt to demonstrate the same image alone, but in doing this the truly diverse meaning and identity is
It must be noted that for the purpose of avoiding redundancy, the author has chosen to use the terms African-American and black synonymously to reference the culture, which...
From Slavery to Freedom: African in the Americas. (2007). Association for the Study of African American Life and History. Retrieved October 7, 2007 from Web site: http://www.asalh.org/
The core principle of history is primary factor of African-American Studies. History is the struggle and record of humans in the process of humanizing the world i.e. shaping it in their own image and interests (Karenga, 70). By studying history in African-American Studies, history is allowed to be reconstructed. Reconstruction is vital, for over time, African-American history has been misleading. Similarly, the reconstruction of African-American history demands intervention not only in the academic process to rede...
Rickford, John R. "The Creole Origins of African American Vernacular English: Evidence from Copula Absence." Http://www.modlinguistics.com/. Http://www.modlinguistics.com/, 1998. Web. 7 Apr. 2014.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.
Small, Christopher. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: U of New England, 1998. Print