CLASS TASK - ENG 209 - WEEK 4
📌WEEK FOUR
📖 Reading
SECTION III, CHAPTER 12, Pages 301–305 of An Introduction to Sociolinguistics by Janet Holmes
(Available on the Resources Page of The Word Lounge)
📑 Reading Guide – Understanding Language and Gender
• What is Lakoff's perspective on gender differences in language use?• What are the features of feminine language according to Lakoff?
📝 Exercises
- Attempt all exercises in the assigned pages.
- Ensure you can answer all Reading Guide questions, as they may serve as pointers to the kinds of questions to expect in your assessments.
- Write a one-page reflection on how gender is represented in one piece of popular media of your choice (song lyrics, film dialogue, advert, or article). Highlight examples of linguistic bias or empowerment.
💬 Submission
One-Page Reflection (Article)
ReplyDeleteReflection on Gender Representation in a Popular Media Article
For this reflection, I analysed an online lifestyle article titled “Why Women Make Better Multitaskers.” Although the article appears to praise women, a closer look at the language shows how gender is represented through both bias and empowerment. The writer makes broad statements such as “women are naturally better at multitasking” and “men usually struggle to do many things at once.” These generalisations treat gender as fixed and ignore individual differences. They subtly support old ideas that women are more suited to emotional or domestic roles.
The adjectives used in the article also reveal linguistic bias. Women are described as “gentle,” “patient,” and “nurturing,” which are stereotypically feminine qualities. These match Lakoff’s concept of “empty adjectives,” which describe emotion rather than ability. Men, on the other hand, are described as “logical” and “straightforward,” which presents them as more serious and rational. This difference shows how language shapes unequal expectations for men and women.
However, the article includes some empowering language as well. It acknowledges women’s strong organisational and leadership skills, especially in challenging workplaces. Phrases like “women demonstrate impressive organisational intelligence” show a shift from emotional descriptions to recognition of ability and competence. This is a more balanced and empowering representation.
Despite this empowerment, the article sometimes returns to essentialist ideas, saying women’s strengths come from “natural instincts.” This reinforces the belief that women are born for certain tasks, which can limit how society views them. Even positive language can still carry stereotypes.
Overall, the article shows that media plays a major role in shaping gender perceptions. Some language empowers women, while other expressions reinforce stereotypes. This reflection highlights how language can either support equality or maintain bias, depending on how it is used.
Contributed By:
Bilal S. O.
Reflection: Gender Representation in Beyoncé’s “Run the World (Girls)”
ReplyDeleteBeyoncé’s “Run the World (Girls)” is a song that really stands out when thinking about how gender is represented in popular media. Instead of showing women as quiet or polite, the song presents them as strong, confident, and capable. This is quite different from what Lakoff says about women’s language being indirect or hesitant. Beyoncé’s choice of words shows power, not weakness.
One of the most striking things in the song is the repeated line, “Who run the world? Girls!” It is bold and direct, more like a command than a question. This kind of language goes against the idea that women usually speak softly or avoid being too assertive. Beyoncé uses it to make women sound like leaders who know their worth.
The song also uses “we” and “us” a lot, which creates a sense of unity among women. It feels like she is speaking for all women, encouraging them to support each other. This makes the message stronger, and it shows women as a group that can stand together and demand recognition.
Another important part of the song is how it talks about women’s efforts and the work they do in society. Instead of focusing on weaknesses, Beyoncé points out women’s strength and resilience. This challenges the stereotype that women are passive or dependent, and it highlights their contributions.
However, Beyoncé uses strong, self-assured language to portray women in a positive and empowered way. The song challenges older ideas about how women should speak and behave, and it presents a modern picture of confidence and leadership. Through this, Beyoncé shows how media can give women a voice that is powerful rather than restricted.
Ashaolu Ajemide Victoria
Reflection: Gender Representation in Taylor Swift’s “The Man”
ReplyDeleteTaylor Swift’s “The Man” provides a clear illustration of how contemporary popular music can interrogate gender norms through pointed linguistic contrasts. The song functions as a critique of double standards that shape public perception of men and women, particularly in professional and social contexts. Through strategic use of comparison, rhetorical questioning, and ironic framing, Swift exposes the linguistic and cultural biases that influence how gendered behavior is evaluated.
A central mechanism in the song is its recurring hypothetical construct: “If I was a man, then I’d be the man.” This conditional clause not only foregrounds the contrast between Swift’s actual experiences and the privileges associated with masculinity, but also underscores how power is often encoded as male by default. The shift from the indefinite a man to the definite the man highlights a linguistic elevation, masculinity is positioned as the norm and the ideal simultaneously. This rhetorical pairing draws attention to how language itself reinforces hierarchies by framing male success as both expected and exemplary.
The accompanying music video reinforces these linguistic critiques by visually embodying the exaggerated masculine persona described in the lyrics. This multimodal approach strengthens the argument by aligning verbal analysis with embodied performance, illustrating how gender expectations operate across both language and representation.
Overall, “The Man” demonstrates how popular media can serve as a site for critiquing gendered linguistic bias. Through comparative constructions, satirical framing, and explicit attention to evaluative language, Swift challenges the cultural narratives that shape perceptions of gender and power. The song not only exposes inequities but also invites listeners to reconsider the role of language in sustaining or dismantling them, making it a valuable artifact for analyzing gender representation in contemporary media.
GENDER REPRESENTATION IN "THE DEVIL WEARS PRADA"
ReplyDeleteThe representation of gender in popular media often reflects deeper societal assumptions about the ways women and men should speak, behave, and occupy space. Using insights from the passage on “women’s language,” this reflection examines the film The Devil Wears Prada and highlights how linguistic choices both reinforce and challenge gender stereotypes. The film provides an interesting context because it shows women in a highly competitive professional environment, where the expectations placed on their speech and behaviour illustrate the link between language, gender, and power.
A central character, Miranda Priestly, disrupts Lakoff’s claim that women typically use linguistic features associated with uncertainty or politeness. Miranda speaks with directness, minimal hedging, and no tag questions. Her commands—“That’s all,” “Get me Isaac”—are short, firm, and declarative. In Lakoff’s terms, this would be considered “masculine” speech, traditionally associated with confidence and authority. The film therefore empowers her through language, positioning her as a woman who refuses the linguistic behaviours society expects of her gender.
However, the plot also shows that
Miranda is criticised for this same directness. She is called “cold,” “impossible,” and “inhuman,” reflecting the passage’s point that a woman who refuses to “talk like a lady” is often judged as unfeminine or “less than fully human.” This double standard highlights gender bias: the same linguistic behaviour celebrated in men becomes a flaw when performed by women.
In contrast, the protagonist Andy initially uses the forms Lakoff associated with “women’s language”: hedges such as “I guess” and “maybe,” indirect requests, and rising intonation that softens her statements. These choices portray her as uncertain and lacking confidence, consistent with Lakoff’s argument that women sometimes “collude in their own subordination” through speech. As Andy gains confidence and professional experience, her linguistic style shifts. She becomes more assertive, more concise, and less apologetic. This transformation illustrates how empowerment can be marked through language. Her growth is not only visual or behavioural but also linguistic.
The film also demonstrates how society talks about women. Miranda is described with words such as “dragon lady,” “witch,” or “high-maintenance,” which carry negative connotations and reinforce stereotypes about powerful women.
These labels show linguistic bias because they evaluate women’s behaviour through moral judgment rather than professional competence. When Andy begins succeeding at her job, she is warned not to become “one of them”—again linking professional success in women to coldness or loss of femininity.
REFLECTION ON GENDER REPRESENTATION IN AYRA STARR'S "RUSH"
ReplyDeletePopular music often reflects the social expectations placed on women and men, especially through the linguistic choices artists make when describing themselves, their ambitions, and their identities. Using ideas from the passage on “women’s language,” this reflection examines gender representation in Ayra Starr’s hit song “Rush.” The song challenges gender stereotypes and uses language as a tool of empowerment rather than uncertainty.
Unlike Lakoff’s suggestion that women tend to use hedges, tag questions, or polite forms that express lack of confidence, Ayra Starr’s lyrics are bold and assertive.
Lines such as “Me no get time for the hate and the bad energy” and “I dey hustle, I dey grind no be small thing” show direct, self-assured language that rejects societal pressure. There is no attempt to soften her statements or to appear overly polite. Instead of hedging, Ayra Starr uses strong declaratives to affirm her self-worth and ambition. Her linguistic style disrupts the stereotype that women’s speech is tentative or subordinate.
The song also responds to how society talks about women. In the passage, women who refuse feminine linguistic expectations are often judged harshly, with society labelling them as unfeminine or arrogant. Ayra Starr directly addresses this stereotype when she sings “But e go enter, if you never try,” positioning herself as someone who refuses to be shamed into silence. The repeated use of self-referential affirmations—“I no gree,” “I dey my grind,”—functions as what Lakoff would call boosting devices, but instead of showing insecurity, they demonstrate empowerment. Ayra Starr is amplifying her voice to insist on recognition in a society where women’s ambition is often questioned.
The linguistic bias in the song becomes more obvious in the lines that reference gossip and criticism. Society frequently uses language to control or police women’s behaviour, and Ayra Starr highlights this by referring to people who “talk anyhow.” These criticisms mirror the stereotypes described in the passage: when women are confident or outspoken, their speech is judged more harshly than men’s. By calling out these negative labels and refusing to internalize them, the song reflects a struggle against the linguistic tools used to suppress women’s confidence.
Moreover, the blend of English, Nigerian Pidgin, and Yoruba affirms a linguistic identity that is bold and culturally grounded. This multilingual expression challenges the idea that women must use “polite,” “refined,” or “standard” forms to be accepted. Instead, Ayra Starr uses language that fits her message and identity, demonstrating that confidence can be expressed in any language variety.
In conclusion, “Rush” represents gender in a way that contradicts
Lakoff’s early claims about women’s language. The song uses directness, assertiveness, and self-affirmation to construct a powerful image of womanhood. It also exposes the double standards society applies to women’s speech. Through its bold linguistic choices, the song becomes a statement of empowerment, showing how language can be used to resist stereotypes and reclaim confidence.
One-Page Reflection on Gender Representation in a Popular Song
ReplyDeleteFor this reflection, I analysed the song “If I Were a Boy” by Beyoncé. The song portrays gender by imagining how relationships would look if a woman were treated the same way men are often treated in society. Through its lyrics, the song reveals gender expectations, emotional roles, and power relations, highlighting both linguistic bias and moments of empowerment.
The opening line, “If I were a boy, even just for a day,” immediately positions gender as something that shapes behaviour. Beyoncé uses a conditional structure to show that society gives men more freedom and less emotional responsibility. The repeated use of “boy” and “girl” becomes a linguistic contrast that exposes how men and women are judged differently. For example, she imagines that if she were male, she could “roll out of bed” and ignore her partner’s feelings without facing criticism. This suggests a generalisation in society that men are allowed to be less emotionally attentive, while women are expected to care more.
The song also highlights linguistic bias through how emotional labour is described. Lines like “I’d listen to her because I know how it hurts” show the stereotype that women are naturally more sensitive and considerate. Meanwhile, the male figure in the song is portrayed as emotionally distant, reflecting a cultural assumption that men are less expressive and less responsible for relationship maintenance. These differences show how language assigns emotional expectations to each gender.
However, the song is also strongly empowering. Beyoncé uses direct statements such as “I think I could understand” and “But you’re just a boy” to challenge male privilege. The tone becomes assertive, and she takes control of the narrative, pointing out double standards clearly and confidently. The final line, “It’s a little too late for you to come back,” is especially powerful because she refuses to accept mistreatment. This shows a shift from the stereotype of women being forgiving and submissive.
Overall, the song uses contrast and emotional storytelling to reveal how gender shapes expectations in relationships. While it exposes the assumptions placed on both men and women, it also empowers the female voice by giving it strength, clarity, and control. Through this, the song challenges the traditional roles society assigns to gender and encourages listeners to reflect on fairness, empathy, and equality.
Contributed By:
Akanbi M. O.