A new dictionary will document the lexicon of African American English

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July 2022

The Oxford Dictionary of African American English​


About the Oxford Dictionary of African American English (ODAAE)​

An exciting project from the OED and Harvard University’s Hutchins Center for African and African American Research is currently underway. Read more about the project below, or sign up to receive news (at the bottom of this page) as the project progresses.

At OUP we’re proud to be initiating this timely and important project with the team at Harvard. African American English has had a profound impact on the world’s most widely spoken language, yet much of it has been obscured. The ODAAE seeks to acknowledge this contribution more fully and formally and, in doing so, create a powerful tool for a new generation of researchers, students, and scholars to build a more accurate picture of how African American life has influenced how we speak, and therefore who we are.
Casper Grathwohl, President of Oxford Languages at Oxford University Press

The project

Funded in parts by grants from the Mellon and Wagner Foundations, the Oxford Dictionary of African American English (ODAAE) is a landmark scholarly initiative to document the lexicon of African American English (AAE) in a dictionary based on historical principles.

This three-year research project brings together the lexicographical resources of the OED and the Hutchins Center’s network of scholars of African American studies to produce a groundbreaking work of scholarship that will serve as a cornerstone of new research into African American language, history, and culture.

The ODAAE team will apply the depth and rigor of the OED’s historical methodology specifically to the study of AAE. A diverse team of lexicographers and researchers will create a dictionary that will illuminate the history, meaning, and significance of this body of language.

ODAAE will be an authoritative record of African American English. For all those interested in AAE, it will be the definitive reference for information about the meaning, pronunciation, spelling, usage, and history of AAE words.

Every speaker of American English borrows heavily from words invented by African Americans, whether they know it or not. Words with African origins such as ‘ ‘goober’, ‘gumbo’ and ‘okra’ survived the Middle Passage along with our African ancestors. And words that we take for granted today, such as ‘cool’ and ‘crib,’ ‘hokum’ and ‘diss,’ ‘hip’ and ‘hep,’ ‘bad,’ meaning ‘good,’ and ‘dig,’ meaning ‘to understand’—these are just a tiny fraction of the words that have come into American English from African American speakers, neologisms that emerged out of the Black Experience in this country, over the last few hundred years. And while many scholars have compiled dictionaries of African American usage and vocabulary, no one has yet had the resources to undertake a large-scale, systematic study, based on historical principles, of the myriad contributions that African Americans have made to the shape and structure of the English language that Americans speak today. This project, at long last, will address that need.
Henry Louis Gates Jr., Editor-in-Chief

What will be recorded?

The ODAAE will be based on examples of African American speech and writing spanning the history of AAE.

Alongside meaning, pronunciation, spelling, usage, and history, each entry will be illustrated by quotations taken from real examples of language in use. This will serve to acknowledge the contributions of African-American writers, thinkers, and artists, as well as everyday African Americans, to the evolution of the US English lexicon and the English lexicon as a whole.

The editing of the Oxford Dictionary of African American English will realize a dream I’ve nurtured since I first studied the pages of Samuel Johnson’s Dictionary of the English Language: to research and compile fully and systematically the richness of African American English, using the lexicographical tools and historical principles that the Oxford English Dictionary embodies, including examples of usage in Black literature and discourse from their earliest manifestations to the present. This massive project draws upon decades of scholarship from the most sophisticated linguists, especially those colleagues who have graciously joined this project as members of our advisory board, as well as the vast academic resources at Harvard’s Hutchins Center for African and African American Research, and the crowd-sourced contributions of speakers of African American English as well.
Henry Louis Gates Jr., Editor-in-Chief
 

Amo Husserl

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For as good as this seems, I'm skeptical.
This seems excessively invasive to the cultural consciousness of a people that can wind up being openly manipulated by others for their gain at the expense of black people.
Don't mind my pessimism.
 

Amo Husserl

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Interesting take.

Was going to ask, how many here were around for the Ebonics controversy out of the Bay area in the 1990s?
A little before my time, but I have seen some footage and read about it. I remember Hooked on Phonics being big growing up.

The take is based on a book I posted in this sub-forum, F.B. Eyes: How J. Edgar Hoover's FBI Framed African American Literature. Before finding out about that, of course you know about COINTELPRO, I saw the Darthard Perry interview on Gil Noble and he mentioned something called "black desk" where federal intelligence agencies made themselves aware of black culture with the purpose of controlling it for the purposes some of us are presently aware of. I'm still not sure what "black desk" is exactly. I can't seem to find a document on it, perhaps it was a word of mouth phrase referencing the above. The aforementioned book gives me a clue. Black Orpheus magazine was funded by the CIA. Then, there are these:

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The US and USSR fought something called the cultural cold war were arts and letters played a prominent role in determining which superpower would come out on top. Whose culture was used to deflect from the inherent racism at home?

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During the Cold War, the leftist French publication Combat used the phrase to criticize the operations of the House Un-American Activities Committee, pointing out what it saw as corruption of "a nation that lynched blacks and hounded anyone accused of 'un-American' activities."[36][37] Use of the phrase as a tu quoque fallacy grew in popularity in Russia during the 1960s, and was used as a widespread quip between Russians.[9] In this version, an American and a Soviet car salesman argue which country makes better cars. Finally, the American asks: "How many decades does it take an average Soviet man to earn enough money to buy a Soviet car?" After a thoughtful pause, the Soviet replies: "And you are lynching Negroes!"[9][10][38] The phrase garnered numerous iterations during the Cold War period.[10] Its pervasiveness in Russian society reflected a strong sense of Soviet socialist patriotism.[39] When the government faced criticism for discrimination against Jews in the Soviet Union, the idiom was used with excessively sentimental tone to complain about racism in the United States.[1]
And you are lynching negroes

The cultural cold war runs deep and is the reason Jackson Pollock is prominent in modern art circles:


So influential that The Stone Roses, a lauded British indie rock band, used his style as the basis of one of their covers designs:
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This is considered one of the greatest British rock albums of all time. Culture.

I think the overwhelming majority of black people don't realize how thorough white people are in making sure we can't ever come out from under them. It's such a layered issue and deep history that for all the benefits they seem to give us, we are still facing the same old issue. Top Down: The Ford Foundation, Black Power and the Reinvention of Racial Liberalism points out that liberals used the tail-end of the CRM and the whole of the Black Power movement as the blueprint for dealing with other minority groups. The amount of money and knowledge of people behind the scenes is crucial to understanding the entirety of the issue (search up a term, technocrats). So when you see liberal policies that initially benefit black people go on to benefit others, that's a part of where it comes from. I can go further back, but you want to look at how abolitionists handled the anti-slavery question and other issues at the time and how they were intertwined as the impetus of all this.

It's a very interesting take when you consider a dictionary is being created so other people can learn to speak like us and know what we're saying. Ebonics is based on English, what few ADOS/FBA speak Spanish are still hindered to some degree by the slang of the language, a language barrier still exists. This isn't a cause to celebrate but a way to break a language barrier.

Sad thing is, enough of us who don't know or refuse to acknowledge and adhere to this little... history lesson will think this as a win and popularize it on social media.

:sas2:

I keep telling y'all to stop making this kind of information public knowledge for a reason, when the desire for acceptance is so strong you'll devalue yourself in the worst ways possible thinking you're being fair and kind you don't recognize the cloak and dagger.

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That's all for today. If you have any other questions, comments or concerns PM me.
 

Amo Husserl

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@Amo Husserl

I am familiar with those topics, and those books.
They've been discussed across this forum before, most recently the White Malice book


Black people constantly create new words and terms, especially the youth. Five years after the book is published, the teens and young adults will be communicating with different words and phrases.

Social media has rendered 'spying' on different groups for the purpose you described obsolete. Disinformation campaigns targeted to specific communities have been uncovered. Tailored to the terms, slang, and phrases for members of different age ranges and social classes from those ethnic groups.

This Oxford project would be an expensive inefficient way to learn AA language for the purpose of infiltration.
I'm talking about something more nuanced and dangerous than infiltration.
I'm talking about acculturation as a method of erasure for genocide.
It's not the constant creation of new words but the cataloguing of previous ones.
Technology, AI, is cutting down on those expensive and inefficient ways of learning.
Tell me something, what recent genre of music have ADOS/FBA invented?
 

Amo Husserl

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How did you make the jump to erasure and genocide?

Arent you trivializing the word genocide here?

This book is only formalizing in academia a dynamic that's been occurring for decades/centuries in America. Rural Blues , AA folklore music, and other genres were documented because of John Lomax. Their words, oral histories and music would not be preserved for the rest of the world if he didn't have the resources to document them. Blues is the foundation for much of the genres that developed later.
Do you think it was a positive or negative thing for those stories and music to be documented?

I have a thread up in this section about a modern project that documents/preserves revolt and freedom songs from the enslaved Africans across the country. Do you think that it was a net positive or net negative?
Surely, if you wanted to get rid of a group you've conducted intelligence on for centuries, part of that agenda requires means of erasure on the way to the goal of genocide.
I'm not trivializing anything, I'm posing a serious possibility at the end of an already known extreme based on the behavior of the dominant society throughout time.
Would you not call this an act of erasure?
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Given what happened to the representation, institutionalization and arguably b*stardization of that music at the hands of those who institutionalized it, regardless of Lomax's work, I'd say it was bad for us.
You're looking at this simplistically, "positive," and "negative," don't mean anything until you take into account who benefitted and who didn't and even then there's more to it.
Now, if you can agree the post before my previous one is right and is something you're aware of, why are you having a problem accepting what I'm saying now?
You can't decide when the issue is complex and when it's simple.
It seems as though you're unaware to how the other side is possibly looking at the last hundred years.
It's negative when you are not in control of your creation and its representation becomes something originally unintended.
You're talking about negatives and positives like these people don't have think tanks and futurists who can route societal maneuvers to their benefit.
You did all this but didn't answer my previous question.
If you don't know how to answer the question, you should say so.
And to that point, why is it that whenever we are questioned by one another we have to respond with a question that has nothing to do with the original question?
Taking this off in a tangent tells me you went into this with the intent of not having a serious discussion about the issue.
This is all for you to digest now, we're not furthering this discussion.
 

EndDomination

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I loved the idea of this maybe a decade ago.

I don't like how AAVE has proliferated and been absorbed by white America via the internet as quickly as it has been - and I don't want non-Blacks to have any easier access to the vernacular than they already do
 
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