431 Matching Annotations
  1. Nov 2025
    1. There was a moment, in time, and in this place, when my brother, or my mother, or my father, or my sister, had to convey to me, for example, the danger in which I was standing from the white man standing just behind me, and to convey this with a speed, and in a language, that the white man could not possibly understand

      What this shows: Communicative function of Black English for safety/solidarity; opacity to dominant listeners.

      How I’ll connect it later: purpose-driven language (Baldwin) / Young’s claim that “It’s ATTITUDES,” not dialect deficits.

    2. Subsequently, the slave was given, under the eye, and the gun, of his master, Congo Square, and the Bible — or, in other words, and under these conditions,.the slave began the formation of the black church, and it is within this unprecedented tabernacle that black English began to be formed.

      Baldwin’s historical account of Black English’s formation complements Heller’s analysis of AAVE as identity/agency in Bambara—both center vernaculars as purposeful, not deficient.

    3. Subsequently, the slave was given, under the eye, and the gun, of his master, Congo Square, and the Bible — or, in other words, and under these conditions,.the slave began the formation of the black church, and it is within this unprecedented tabernacle that black English began to be formed.

      What this shows: Specific historical sites (church/community) where Black English coalesced.

      How I’ll connect it later: historical formation (Baldwin) / AAVE-as-agency in literature (Heller).

    4. It is the most vivid and crucial key to identity: It reveals the private identity, and connects one with, or divorces one from, the larger, public, or communal identity.

      Where Jenkins argues SAE mastery for workplace power, Baldwin reframes power as already embedded in Black English’s identity/politics—setting up a productive tension for synthesis.

    5. It is the most vivid and crucial key to identity: It reveals the private identity, and connects one with, or divorces one from, the larger, public, or communal identity.

      Why this quote matters: States language–identity linkage for synthesis. Signal phrase I might use: Baldwin maintains that language is “the most vivid and crucial key to identity…”

    1. To start writing this chapter, for example, one of the first things we didwas read previous contributions to Writing Spaces to get a sense of the ex-pected tone and the structure.

      What the example demonstrates: Audience/design analysis as part of language-architect work.

      How I will connect it later: situational design (Alvarez/Wan/Lee) / Jenkins’s emphasis on audience expectations (contrast in aims).

    2. Once we havesome words, ideas, frustrations on paper, we give ourselves small writingtasks, like “just write whatever you can or feel about X topic for 5 minutes.”

      Pedagogy in action: The authors’ translingual strategies (freewriting, revision cycles) complement Young’s call to teach descriptively and embrace code meshing in the same paper.

    3. Once we havesome words, ideas, frustrations on paper, we give ourselves small writingtasks, like “just write whatever you can or feel about X topic for 5 minutes.”

      What the example demonstrates: A concrete technique that surfaces authentic voice before later shaping.

      How I will connect it later: practice-level support for translingual composing / Young’s classroom stance on descriptive teaching.

    4. What we mean bythis is that your voice and all the ways you use it—as part of who you are—makes all the difference, and therefore, should be amplified and cultivated.

      Why this quote matters to my theme: Centers student voice as a positive resource to develop, not suppress.

      Signal phrase I might use: The chapter emphasizes that “your voice… should be amplified and cultivated.”

    1. Teachers frequently encounter him on panels with titles like“The Expanding Canon: Teaching Multicultural Literature InHigh School.” But the dude is also hella down to earth.

      Vernacular as agency: Young’s code meshing aligns with Heller’s claim that AAVE conveys identity, confidence, and critique; both position vernacular forms as tools of voice and resistance.

    2. Teachers frequently encounter him on panels with titles like“The Expanding Canon: Teaching Multicultural Literature InHigh School.” But the dude is also hella down to earth.

      What the example demonstrates: Journalistic prose mixing formal description with vernacular insertions—live code meshing in print.

      How I will connect it later: identity/voice via vernacular (Young) / AAVE-as-agency (Heller).

    3. (1) Iowa Republican Senator Chuck Grassley sent two tweets to President Obamain June 2009 (Werner).

      What the example demonstrates: Public, professional communication already blends registers/abbreviations—evidence of code meshing beyond classrooms.

      How I will connect it later: real-world register mixing (Young) / workplace register expectations (Jenkins).

    1. "Who are these people that spend that much for performing clowns and $1,000 for toy sailboats? What kinda work they do and how they live and how come we ain't in on it?" (94).

      What the example demonstrates: AAVE voice frames incisive social/economic questioning at the story’s climax.

      How I will connect it later: AAVE questioning/critique (Heller) / Jenkins’s workplace-norms argument (contrast).

    2. In the opening sentence of "The Lesson," Bambara clearly indicates that Sylvia is narrating in AAVE. Here, Sylvia describes Miss Moore as an adult with "nappy hair" (87).

      Identity/agency: Heller’s framing of AAVE as pride and resistance aligns with Lysicott’s argument that vernacular resources carry identity and should be leveraged within academic spaces.

    3. In the opening sentence of "The Lesson," Bambara clearly indicates that Sylvia is narrating in AAVE. Here, Sylvia describes Miss Moore as an adult with "nappy hair" (87).

      What the example demonstrates: Early lexical cue grounds narrator’s voice in AAVE and signals cultural stance.

      How I will connect it later: AAVE as identity marker (Heller) / code-meshing/voice (Lysicott).

    4. Such writing implies resistance to the dominant culture, destabilizes the privileged dialect/discourse, and portrays "subversive voices" that present "alternative versions of reality" (11, 13, 46).

      Why this quote matters to my theme: Captures the resistance function of dialect literature and aligns with Bambara’s use of AAVE.

      Signal phrase I might use: Heller, citing Jones, notes that dialect writing “destabilizes the privileged dialect/discourse…”

    5. However, Bambara also celebrates AAVE as a vehicle for conveying black experience: Sylvia uses AAVE to express her self-confidence, assertiveness, and creativity as a young black woman.

      Why this quote matters to my theme: Names AAVE’s expressive and identity-affirming functions directly.

      Signal phrase I might use: According to Heller, “Bambara also celebrates AAVE as a vehicle for conveying black experience…”

    1. In short, standard American English is not inherently racist. It is not merely a “tool of the patriarchy.” It is a tool for anyone who wishes to use it

      Why this quote matters to my theme: It directly rebuts claims that SAE is inherently discriminatory and frames it as an open tool.

      Signal phrase I might use: Jenkins concludes, “In short, standard American English is not inherently racist…”

    2. Later that day I received a reply from a young bank employee offering further details. Actually, I have no idea if she was young — I just assumed she was because her long e-mail was full of emoticons and text-messaging abbreviations — including, I kid you not, “LOL.”

      Gatekeeping vs. pragmatics: Jenkins frames SAE as practical for credibility with unknown audiences, while Young critiques “Standard English” as gatekeeping that marginalizes nonstandard varieties. (Used for concept-map edge between Jenkins / Young.)

    3. Later that day I received a reply from a young bank employee offering further details. Actually, I have no idea if she was young — I just assumed she was because her long e-mail was full of emoticons and text-messaging abbreviations — including, I kid you not, “LOL.”

      What the example demonstrates: Informal dialect/features can undermine perceived professionalism and lead to lost business.

      How I will connect it later: workplace expectations for tone/register (Jenkins) / critique of gatekeeping (Young).

    4. In one class, my 24 students spoke 17 languages. I can tell you from experience that those students were eager to master standard American English — once I explained to them what it is (and isn’t) and how it could benefit them. They saw it as a key that could unlock the world of higher-paying employment.

      What the example demonstrates: Multilingual students treat SAE as economic access and actively pursue it.

      How I will connect it later: access via SAE (Jenkins) to/from identity/voice via code-meshing (Lysicott).

    5. . In one class, my 24 students spoke 17 languages. I can tell you from experience that those students were eager to master standard American English — once I explained to them what it is (and isn’t) and how it could benefit them. They saw it as a key that could unlock the world of higher-paying employment.

      Access vs. identity: Jenkins emphasizes SAE as a key to employment, while Lysicott foregrounds code-meshing to honor identity and agency within academic/professional spaces. (Used for concept-map edge between Jenkins/Lysicott.)

    6. The only purpose of language is to communicate, and if the language or dialect you use in a particular situation allows you to do so, then it is effective.

      Why this quote matters to my theme: It centers communication effectiveness as the standard, supporting SAE as situationally pragmatic.

      Signal phrase I might use: According to Jenkins, “The only purpose of language is to communicate…”

  2. Oct 2025
  3. Sep 2025
  4. May 2025
    1. Concept. The term “concept” has differing meanings in various contexts(psychology, linguistics, philosophy). I am using “concept” as an abstractionthat does not reference a thing; rather, a concept establishes a boundary in afield of meaning. One might say that concepts are agreed-upon set bound-aries.

      for - adjacency - concept - boundary

  5. Feb 2025
    1. Sovereignty is a political concept that refers to dominant power or supreme authority. In modern democracies, sovereign power rests with the people and is exercised through representative bodies such as Congress or Parliament.

      Sovereignty concept

  6. Jan 2025
    1. Transdisciplinary sustainability science is increasingly applied to study transformative change. Yet, transdisciplinary research involves diverse actors who hold contrasting and sometimes conflicting perspectives and worldviews. Reflexivity is cited as a crucial capacity for navigating the resulting challenges

      for - adjacency - reflexivity - tool for transdisciplinary research - indyweb - people-centered interpersonal information architecture - mindplex - concept spaces - perspectival knowing - life situatedness - SRG transdisciplinary complexity mapping tool - SOURCE - paper - Reflexivity as a transformative capacity for sustainability science: introducing a critical systems approach - Lazurko et al. - 2025, Jan 10

      adjacency - between - reflexivity - tool for transdisciplinary research - indyweb - people-centered, interpersonal information architecture - mindplex - concept space - perspectival knowing - life situatedness - SRG transdisciplinary complexity mapping tool - adjacency relationship - This paper is interesting from the perspective of development of the Indyweb because there, - the people-centered, interpersonal information architecture intrinsically explicates perspectival knowing and life-situatedness - Indyweb can embed an affordance that is a meta function applied to an indyvidual's mindplex that - surfaces and aspectualizes the perspective and worldview salient to the research - The granular information that embeds an indyvidual's perspectives and worldviews is already there in the indyvidual's rich mindplex

  7. Nov 2024
  8. Oct 2024
  9. Sep 2024
  10. Aug 2024
  11. Jul 2024
  12. May 2024
    1. So she's this character who exists and is a film character. So film characters are, uh, glowing and luminous and they're perfect, right. They--they were born exactly as they should be. And I think that, uh, that's why we all show up to the movies. Because we get to experience characters in its most, uh, fundamental, uh, self.SONG 00:26:45So what we're pursuing is that, right. We're not trying to recreate the--you know, we're not making a docu series about it, you know. I mean it's so much more about it. So I think, and I think that process is happening for every single character.

      concept development

    2. And her soul and her heart. And her emotions. And talking through and building this character together. So I think that Nora is genuinely somewhere between part of me in our collaboration. I think she's the center of our collaboration. And she's not all Greta Lee, but also she's not all Celine Song.

      collaborator actor concept development

    3. Well, I think that it's because I am, uh, never quite thinking about the, uh, the characters as kind of an immolation of the real life people that the whole film was inspired by, right. So I'm never showing up to a conversation with Greta and saying it's like, well, because the character of Nora was inspired by who I am, you need to now be just like me. That's not what I'm asking her for.

      concept development, actor

    4. SONG 00:18:33Yeah. (laugh) Well, and well I think that it's also like, but I think when you're in a marriage too, I think that's the other side of things too. If you're--if you're in a long term relationship or a marriage like people--my audience members who, uh, have--who are in that place in their life.SONG 00:18:48You know, like it's sort of this other reaction where it's like, on one hand I've heard them say, you know, I just actually, uh, this movie made me, uh, really appreciate and love and acknowledge the--the importance of my partner. And I just how much I appreciate them, how excited I'm, um, you know, I feel, uh, to commit to them for the rest of my life.SONG 00:19:09And it just made me realize that I'm with a really, really good partner who cares for me, and I care for them. On the other side of things, I've also wrote the version of they're like, you know man, like this movie made me realize I'm in a very bad relationship. And I have a very hard conversation to have with my partner.SONG 00:19:27So I think that in that way, it's like it is meant to be more of the reflective surface for the audience. It's a little bit more like, huh, this is the decision and this is the life that this character Nora made. What does it make you think? What does it make you feel?SONG 00:19:40And--and how do you feel about it? Have you felt this way before?

      concept development

    5. Can I tell you. Like after almost every screening, uh, you know, because what's amazing is like, you know, like and also the movie can mean something different for everyone. I think that we see, uh, what kind of a life and what kind of a choice that, uh, Nora is making, or Nora is choosing.SONG 00:17:40But the thing that, uh, it reveals usually in the audience is like what--where are they--where they are in their life. And what they're looking for and what they want from their life. And what they're choosing. So for example, I heard both ends of spectrum from people who are single.SONG 00:17:56Where, you know, if you're single then, you know, I heard both of the actions of like, you know, this movie, you know, made me want to go and fly to another country and try to see if I can reconnect with that person whose I've been really hung up on. And just see if there's something there.

      concept development

    6. SONG 00:14:44Well, I think that when you're trying to, uh, make something that is really personal and that pass on in this case a very real autobiographical, uh, element and it's actually, uh, the--kind of the initial thing that, you know, spawn the whole film.SONG 00:15:00Because of that I think you're right. It is very, uh, vulnerable. But also I think that there is some total, uh, joy in it too. Because I get to share something that I personally feel very deeply is what it is like to be a human being, uh, today and now and right here.SONG 00:15:16So I think that the truth is that the feeling of that really did overwhelm, uh, the any kind of like, uh, fear or vulnerability or anything like that. I think that I could find the courage to, uh, share the story because I knew that if the audience, uh, would just hear me out on the story, I think that they would be able to understand, um, and really--and listen beyond on understand.

      concept

    1. I could not have written it without knowing how it ends. I think the first thing I wrote was the very opening and then I wrote the scene at the bar leading into the final walk home. I always knew we were driving towards that ending. It’s meant to be a knife — you want the ending to be sharp.

      concept

    2. I think about the ways a movie is going to live inside of audiences really differently. I don’t think it makes sense to only inspire tears — I think it can inspire a sense of bliss, too. The movie can mean so many different things. A lot of people see Nora cry at the end of the film, and they feel so connected to her and they also cry.

      concept

    1. Double Happiness director Mina Shum looks back at what has — and hasn't — changed in this extended interview from The Filmmakers.7 years agoDuration 10:31Double Happiness director Mina Shum looks back at what has — and hasn't — changed in this extended interview from The Filmmakers.7 years agoArtsShare2:27PauseMute9:4210:31Toggle fullscreenShareLinkFacebookTwitterEmailEmbedDouble Happiness director

      She talks about representation on screen in the end of this interview.

    1. Double Happiness

      0:51 Mina delves into the concept of leaving home and achieving independence, drawing from her own experiences of leaving home at eighteen. She aims to develop this theme as a model for young women, exploring the challenges and triumphs associated with stepping out on one's own

    1. The film is the vehicle for the reuniting the three generations in (more or less) corporeal form. But Ruth, who is “halved,” has a problem with integrity, and nothing is quite as simple as it seems. As the film unfolds, she leads us in an equivocal inquiry into the shifty nature of memory and the documentary genre itself.

      In the film, the narrative reunites three generations. The film explores the concept of "halved."

  13. Apr 2024
  14. Mar 2024
    1. Given the already describedstrains on the Jews, the negative effect of the heat, and thegreat overloading of most of the cars, the Jews attemptedtime and again to break out of the parked train cars, asdarkness had already set in toward 7:30 p.m.
    2. Forthis first shooting of large numbers of Jewish women, the authorof the war diary felt the need to provide a justification. Theywere shot, he explained, "because they had been encounteredwithout the Jewish star during the roundup . . . . Also in Minskit has been discovered that especially Jewesses removed themarking from their clothing.
    1. Heidegger responds to this predicamentby proposing that there are, in fact, two modes of being-with-others in-the-world, one authentic and the other inauthentic. Predictably, the inauthenticmode consists in being lost in the “they.” The authentic mode, on the otherhand, consists in Dasein recovering its ownmost potentiality for Being, whichwas, from the start, “taken away by the Others.”

      modes of being-with-others in-the-world

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    Annotators

  15. Feb 2024
    1. In World War IIas in World War I, soldiers classified friends and foes in terms of rel-ative cleanliness, but in this conflict they were much more apt tomake sweeping judgments about the population and to rank peopleaccording to rigid biological hierarchies. Even the ordinary infan-tryman adopted a racialized point of view, so that “the Russians”the Germans had fought in 1914–1918 were transformed into anundifferentiated peril, “the Russian,” regarded as “dull,” “dumb,”“stupid,” or “depraved” and “barely humanlike.”
    2. Setapart from the familiar social contexts of family, work, and school,the closed camp was designed to break down identifications withsocial milieus and to promote Entbürgerlichung (purging bourgeoiselements) and Verkameradshaftung (comradeship) as part of theprocess of Volkwerdung, “the making of the people,” as the pecu-liar idiom of National Socialism put it.

      entbürgerlichung - purging bourgeois elements

      verkameradshaftung - comradeship

      volkwerdung - the making of the people

    3. Well-appointed homes were ransacked and formerly prominent cit-izens tormented because Jews were regarded as profiteers whosewealth and social standing mocked the probity of the Volksgemein-schaft; children and the elderly were terrorized because they were“the Jew” whose very existence threatened Germany’s moral, polit-ical, and economic revival
    4. The startling events of the spring of 1933, when more andmore Germans realized that they were not supposed to shop inJewish stores and when German companies felt compelled to fireJewish employees and remove Jewish businessmen from corporateboards, moved Germany quite some distance toward the ultimategoal of “Aryanizing” the German economy.
    5. The idea of normality had become racialized, so that entitlement tolife and prosperity was limited to healthy Aryans, while newly iden-tified ethnic aliens such as Jews and Gypsies, who before 1933had been ordinary German citizens, and newly identified biologicalaliens such as genetically unfit individuals and so-called “asocials”were pushed outside the people’s community and threatened withisolation, incarceration, and death.
    6. Thecalamity of the unexpected surrender, the “bleeding borders” re-drawn in the postwar settlement at Versailles, and the overwhelm-ing chaos of the inflation in the early 1920s were collective experi-ences that made the suffering of the nation more comprehensible.During the Weimar years, the people’s community denoted the be-leaguered condition Germans shared, while expressing the politicalunity necessary for national renewal.
    7. The euthanasia “actions” anticipated the Holocaust. Figuringout by trial and error the various stages of the killing process, fromthe identification of patients to the arrangement of special trans-ports to the murder sites to the killings by gas in special chambersto the disposal of the bodies, and mobilizing medical experts whoworked in secret with a variety of misleading euphemisms to con-ceal their work
    8. ventuallythe criminal charges that relatives threatened to bring against hos-pitals, the dismay of local townspeople who wondered why the pa-tients “are never seen again”—“in one south German village, peas-ant women refused to sell cherries to nurses from the local statehospital”—and finally, in August 1941, the open denunciation ofinvoluntary euthanasia by Clemens August von Galen, the Catholicbishop of Münster in Westphalia, prompted Hitler to order the spe-cial killing centers dismantled.
    9. he sterilization proceedings put the voices ofvictims into the historical record, an unusual occurrence in NaziGermany. Whether they were “pleading or imploring, beseechingor threatening, complaining or accusing, bitter or outraged, fright-ened or self-confident, resigned or enraged, oral or written, rhymedor unrhymed,” the appeals were generally free of the “condescend-ing” scientific language of biological racism
    10. “the police have theresponsibility to safeguard the organic unity of the German people,its vital energies, and its facilities from destruction and disintegra-tion.” This definition gave the police extremely wide latitude. Any-thing that did not fit the normative standards of the people’s com-munity or could be construed as an agent of social dissolutiontheoretically fell under the purview of the police.
    11. Did shesympathize a little bit with people who were not considered wor-thy? Perhaps so, because Gisela recalled the incident in postwar in-terviews; but other Germans continued to improve themselves bygrooming themselves as Aryans, sitting up straighter, filling out thetable of ancestors, and fitting in at the camps, which gave legiti-macy to the selection process that had created Gisela’s anxiety inthe first place
    12. The Ministry of Education authorized the National So-cialist Teachers’ League to organize retraining camps in order to“equip,” as Rust put it, teachers with lesson plans in “heredity andrace”; an estimated 215,000 of Germany’s 300,000 teachers at-tended two-week retreats at fifty-six regional sites and two nationalcenters that mixed athletics, military exercises, and instruction.
    13. Filled with photographs, graphs, and tables, thepropaganda of the Office for Racial Politics made the crucial dis-tinction between quantity and quality—Zahl und Güte—easy tounderstand. Unlike Streicher’s vulgar antisemitic newspaper, DerStürmer, the Neues Volk appeared to be objective, a sobering state-ment of the difficult facts of life

      hiding behind objectivity. ppl saying things and being like well its just fact w/o the ability to double check

    14. It was the modern, scientificworld of “ethnocrats” and biomedical professionals, not the anti-communist Freikorps veterans of the SA, who devised Ahnenpässeand certificates of genetic health and evaluated the genetic worth ofindividuals.

      not exactly a bait and switch but somewhere along those lines, hitler gained loyalty by kicking out communism and then harnessed the goodwill to be like "you know what else we need to do"

    15. Racial thinking presumed thatonly the essential sameness of the German ethnic community guar-anteed biological strength. For the Nazis, the goal of racial puritymeant excluding Jews, whom they imagined to be a racially alienpeople who had fomented revolution and civil strife and divided theGerman people.
    16. In place of the quarrels of party, the contests of inter-est, and the divisions of class, which they believed compromised theability of the nation to act, the Nazis proposed to build a unified ra-cial community guided by modern science. Such an endeavor wouldprovide Germany with the “unity of action” necessary to surviveand prosper in the dangerous conditions of the twentieth century
    17. During the war Klemperer, like so manyother Jews, was forced to move into the drastically smaller quartersof a “Jew house,” which meant that he had to dispose of books andpapers. “[I] am virtually ravaging my past,” he wrote in his di-ary on 21 May 1941. “The principal activity” of the next daywas “burning, burning, burning for hours on end: heaps of letters,manuscripts.

      nazis enforced the creation of aryan archives and forced the destruction of jewish ones, creating an imbalance in how much material there was in order to control the historical narrative

    18. all the humor about Jewishness in Germany, the fear of stum-bling upon Jewish grandmothers and the relief when only a “Jewishgreat-grandmother,” “who cannot hurt you anymore,” turned up,did not dispel the suspicion that Jews were different.

      the mandatory nature of the racial passport and the nuremberg laws about jewish blood in mixed lineage emphasized that being aryan was a good thing and allowed people with a small amount of jewish ancestry to develop antisemitic feelings towards jewish people

    19. Thus, for leading opponents of the Nazis, and for the Jews andother minorities that the regime tormented, there seemed to be littlealternative but to abandon Germany altogether. Since most exilesnever returned, Germany’s political and intellectual life continuedto be structured by the Nazis long after their defeat

      lack of dissenting voices means nazis shape everything