whetherthe proliferation of representations of women as desirable and sexually agen-tic represents a real and positive change in depictions of female sexuality, orby contrast, merely a repackaging of feminist ideas in a way that rendersthem depoliticized and presses them into the service of patriarchal consumercapitalism

Blacks regulate how they are scripted . . . and is one strategy they use in popularmedia (i.e., music, film, magazines, television) in order to reinvent themselves”(p. 60). Such is the case with hip-hop stars Nicki Minaj and Missy Elliott, both ofwhom have charted their own course and essentially rejected that which is deemedappropriate for Black female behavior and the inscription of the Black body

Minaj’s brand of feminism is expressed in such a way that she is able toremain completely mainstream and highly marketable

n fact, her success is largelybuilt on our collective acceptance that she has surgically enhanced her bodyparts to create a new body for public consumption.

Because her body is her product, it must be continually updated and reinventedto maintain its allure as a commodity in a body-saturated market.

Drawing on historicalnarratives of the black criminal, male hip-hop artists routinely perform a versionof blackness that highlights criminality, poverty, violence (especially directedtoward other African Americans), anger, and sexual domination over others,especially African American women (

Since the early 1990s, representations of blackness in hip-hop have narrowedtremendously. As “gangsta rap” became more popular with larger and whiteraudiences, major recording labels signed a diminishing variety of rap artists infavor of focusing on the increasingly profitable, black gangsta rapper, imaginedand constructed by the largest media companies as violent street criminalsdisconnected from mainstream society and values

Minaj and her team of business strategists/patrons at Young Money CashMoney Records constructed her public personality and her body to appeal to theincreasingly pornographic culture of pop music, yet she had rapping skills thatgave her legitimacy in the hypermasculine world of hip-hop emcees (Emerson2002; Whitney 2012).

Women who dance in rap videosare cast as the object of a male gaze and usually serve as props to enhance theperformance of masculinity by the male rapper in the video

The pornification of female pop musicians helped push female rappers,like Missy “Misdemeanor” Elliott, out of hip-hop’s top charts.

For example, describing the branding of breasts with hersignature as “empowering” reframes the action as about personal power ratherthan branding and consumption

. Minaj had a quiet entrance to the hip-hop world in 2007,but by 2012 she had two best-selling albums and seven singles simultaneouslyin the Billboard Hot 100, bringing her to the pinnacle of media exposure.

The aim of this project is to show how rap musicin today’s era addresses issues in a way that is similar to an alternative news outlet,providing a voice for those who perhaps receive little attention from the news media(Mourão et al., 2021).

Fishman’s concept divides lan-guages into strong and weak.During the Soviet era, Russianwas the “strong” (dominant) lan-guage across the USSR. In Sovi-et-era Kazakhstan, the Russianlanguage practically displacedthe Kazakh language from themanagerial, industrial, and cul-tural spheres. At the time, Ka-zakhs were embarrassed to speakKazakh, and most of them did notknow the language at all. As a re-sult, the use of Kazakh was min-imized; at that time, the statusof the language of the dominantethnic group could be consideredweak.

Fishman believes that in manycases, a language shift leads tomultilingualism and multicul-turalism.

will allow for the co-existence of different languages

strong language

anguage shifts

Zukhra Mukanova and her daughters moved from Uzbekistan to Kazakhstan in 2010. Although she has a residence permit, she has started the process of obtaining citizenship so that her daughters will automatically become Kazakhstani.

international fame of the film Borat

Kazakhstan had to construct an alternative discourse of national cohesion, an attempt to define itself in the eyes of the world, but also to claim a distant glorious past, in order to remain definitively master of its destiny.

t independence, Kazakhs were in the minority in their own homeland. In order to change the demographic balance, a repatriation programme over 25 years (from 1991 to 2015) brought the return of more than 1 million people – about 5% of a population of more than 19 million inhabitants.

It reinvents itself. Connected to the world, trying to forge a modern and hi-tech identity, carrying from its Soviet past an industrial glory, and from its nomadic origins a rural nostalgia.

It would, then, be difficult to embrace a lingua franca without harming speakers of otherlanguages. In addition, if we were serious about acting justly, it would not be enough merely toabstain from harming communities of minority language speakers. Given the injustices that such

Thereason why it’s better to preserve currently existing natural languages than to create new ones isbecause of the historical and personal value of the former.

It is fortunate that sentimentality can be a respectable sort of attitude.

It isexaggerated because it does not reflect the value of its object.

But why, exactly?

some

All these things — theoppression until death of a once thriving culture, loneliness, and losing loved ones — are bad,regardless of whether they involve language death.

I imagine

It would be cruel to destroy it deliberately, yet it wouldbe unreasonable for him to expect society to invest significant resources preserving it. The samemight be true of minority languages: their value to some just doesn’t warrant the society-wideeffort required to preserve them

entimentality, we tend to think, is an exaggerated emotional attachment to something.

Thriving majority languages do not come with tragic stories, and so they do not arouse ouremotions in the same ways.

complicated.

loss of the culture of which she wasonce part;

Mandarin

definition

an event that was reportedly foreseen by tribe elders

‘After the death of herparents, Boa was the last Bo speaker for 30 to 40 years.

The sorrow we feel about the death of a language is complicated.

Aka-Bo, like many otherextinct languages, did not make a difference to the lives of the vast majority of people. Yet thesense that we lose something valuable when languages die is familiar.