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This paper examines the enregisterment of white nationalist women's language as metapolitical seduction, in anti-feminist conversion videos designed both to seduce men and to restore them to their proper place—above women. First, the paper analyzes the metapragmatics of submissive femininity, then the characters this far right fairy tale invents, and finally how they come to represent a metapolitical order which aligns gender, nation, tradition, and language. Women's language contributes to the white nationalist metapolitical project of resurrecting white masculinity and re-gendering the world, also revealing mechanisms by which white supremacy is made to appear not only normal, but desirable.

This article examines the polyvalence of racial(ised) representations in K-pop performances. The analysis of K-pop star CL’s (2013) song and video ‘Nappeun gijibae’ (‘The bad girl’) demonstrates how the artist projects an assertive femininity by embodying and localising the Bad Bitch: a sexually agentive figure of womanhood from US hip hop. CL’s use of African American English and conventionalised hip hop tropes helps resignify gijibae, a pejorative Korean term for women. By shifting between decontextualised styles invoking a different time and place, CL is able to build a kind of chronotopic capital that transforms fragmented styles into an empowered cosmopolitan femininity. However, although CL’s performance challenges Korean gendered norms in its use of local linguistic resources, her selective appropriations of US Black and Chicanx cultural signifiers reproduce narrow images of racialised femininities and reify a hierarchy of valuation along lines of gender and race.

Language ideologies have been of central concern to the study of Japanese language, gender and society. Many scholars have researched ideologies surrounding representations of Japanese women’s speech; however, investigations of representations of men’s speech have been limited. This study contributes to filling this gap through the analysis of non-Japanese male characters found in contemporary Japanese novels. The article reveals that authors assign strongly masculine expressions to their East Asian characters much more frequently than to their white characters and argues that these differentiated representations of non-Japanese male characters’ speech reproduce and are influenced by ideologies concerning cultural nationalism, racial determinism, class and sexuality. Linguistic data are presented that both unsettle the constructed image of Asian males as asexual beings and question the historically assumed relationship between gendered language and authenticity.

Féministes en mouvement de l’Université Laval (FEMUL) 2020 Résumé : « L’élaboration du guide Pour la rédaction inclusive à l’Université Laval s’inscrit dans un effort collectif d’appuyer la communauté universitaire dans l’application de formes d’écriture inclusive. L’objectif de ce projet est de sensibiliser la communauté universitaire à cette nouvelle réalité grammaticale et de lui fournir […]

Guide d'écriture inclusive

This article explores the roles that language and the body play in the iconization of cross-modal personae (see Agha 2003, 2004). Focusing on a community of radical drag queens in San Francisco, I analyze the interplay of visual presentation and acoustic dimensions of /s/ in the construction of the fierce queen persona, which embodies an extreme, larger-than-life, and anti-normative type of femininity. Taking data from transformations—conversations during which queens visually transform from male-presenting into their feminine drag personae—I explore the effect of fluid visual presentation on linguistic production, and argue that changes in both the linguistic and visual streams increasingly invoke qualia (see Gal 2013; Harkness 2015) projecting ‘harshness’ and ‘sharpness’ in the construction of fierce femininity. I argue that personae like the fierce queen become iconized through rhematization (see Gal 2013), a process in which qualic congruences are construed and constructed across multiple semiotic modalities. (Iconization, rhematization, qualia, sociophonetics, gender, personae, drag queens)*

Dans de nombreux pays africains, il a existé et il existe encore parfois des figures institutionnalisées de la diversité de genre. C’est le cas, au Sénégal, du góor-jigéen, littéralement « homme-femme » en langue wolof. Évoquée dans certains récits d’observateurs dès le xixe siècle, cette figure a rarement été décrite ou analysée avec précision dans la littérature savante. Pendant longtemps, le góor-jigéen était un homme biologique présentant des attributs féminins et occupant préférentiellement certaines fonctions sociales. Son statut et sa place étaient reconnus au sein de la société sénégalaise. Progressivement, l’expression est devenue synonyme d’homosexuel masculin et elle est aujourd’hui le plus souvent utilisée comme une injure. Elle a donc connu une « resignification négative », traduisant la transformation d’une catégorie de genre en une catégorie d’orientation sexuelle. Cet article retrace l’histoire de la figure du góor-jigéen et analyse les conditions qui ont rendu possible la transformation de sa signification et de sa position sociales.

Sociocultural linguists share with transgender communities a strong interest in the power of individuals to assert agency over linguistic patterns. For trans people, a key principle of activism is gender self-determination, which treats each individual as the ultimate authority on their own gender identity. This article explores some of the ways gender self-determination and self-identification surface in transgender people’s linguistic practices. Three particular manifestations are highlighted: gendered identity labels, third person pronouns, and body part terminology. The observations offered on these subjects are based on a series of ethnographic projects carried out from 2006–2016 in transgender communities across several metropolitan areas in the United States and in online spaces frequented by trans people. However, the analysis goes beyond mere description by treating this kind of individualized linguistic agency as the product of cultural practice rather than an asocial given. Such a perspective introduces questions concerning why this form of agency arose in the time and place that it has. This article frames gender self-identification as an enactment of neoliberal personhood, in which individuals are framed as the driver of their destiny. What the ideology of neoliberal agency obscures, however, is that agency is not an equally distributed resource.

The connections between sociolinguistic conceptions of stance and the notion of affect are explored. After an explication of sociolinguistic theory, a view of stance based on three dimensions of evaluation, investment, and alignment is articulated. It is argued that low investment stances are connected to masculinity, and through that to a wider affect of ‘masculine ease.’

Depuis les récits retraçant ses premières heures, la scène rap montréalaise apparaît particulièrement investie par des acteurs d’origine haïtienne : un fait notamment palpable à travers les textes de rap, qui présentent fréquemment des occurrences en créole haïtien. Prenant acte de cette caractéristique du rap montréalais, nous proposons une réflexion sur les enjeux de la visibilité des migrants et descendants de migrants haïtiens au sein de l’espace public québécois, à travers une focalisation sur les pratiques et expériences de rappeuses montréalaises d’origine haïtienne. Dans cette contribution, qui vise à entrevoir les processus de majoration et de minoration à l’oeuvre dans le contexte montréalais et québécois, nous envisagerons notamment la manière dont les vecteurs de différenciation impliquant ce qui relève du linguistique, de la « québéquicité » ou des rapports sociaux de sexe s’actualisent et se reproduisent dans le cadre de la médiatisation des productions artistiques.