The Blackness of “Broken English”
The Blackness of “Broken English”
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“蹩脚英语”的黑暗
DOI：
10.1111/j.1548-1395.2011.01108.x
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发表时间：
2011
影响因子：
0.8
通讯作者：
R. Gaudio
中科院分区：
文献类型：
--
作者：
R. Gaudio
受简·希尔对模仿西班牙语和其他形式的语言挪用的种族和民族含义的分析的启发，本文分析了尼日利亚流行歌手使用和不使用尼日利亚皮钦语（NP）的情况。他们的表演将西非沿海音乐风格的联合收割机元素与嘻哈和/或雷鬼音乐相结合，他们的歌词将NP和各种尼日利亚语言与非裔美国人英语和偶尔的牙买加克里奥尔语并列。通过将尼日利亚人的文化和政治经验与非洲裔美国人和牙买加人的文化和政治经验相结合，这些艺术家参与了黑人大西洋文化传统，同时在想象中的跨国空间中索引了一个明显的尼日利亚公众。然而，这种公众的形成是复杂的，因为（除其他外）来自尼日利亚北方的说豪萨语的穆斯林比其他尼日利亚人更不可能使用和隶属于NP。
Inspired by Jane Hill's analyses of the racial and national implications of Mock Spanish and other forms of linguistic appropriation, this paper analyzes the use and nonuse of Nigerian Pidgin (NP) by Nigerian popular singers. Their performances combine elements of coastal west African musical styles with hip hop and/or reggae, and their lyrics variably juxtapose NP and various Nigerian languages with African American English and occasionally Jamaican Creole. By aligning Nigerians' cultural and political experiences with those of African Americans and Jamaicans—whose languages have also been stigmatized as “broken English”—these artists engage a Black Atlantic cultural tradition while simultaneously indexing a distinctly Nigerian public within that imagined transnational space. The formation of this public is complicated, however, by (among other things) the fact that Hausa-speaking Muslims from northern Nigeria are less likely than other Nigerians to use and affiliate with NP. [Nigeria, creole, nation, music, race]