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@ -178,9 +178,9 @@ how Nubians are perceived by non-Nubian Egyptians eroding the cultural,
social, and global identity of all Egyptian citizens. Participant 18, a social, and global identity of all Egyptian citizens. Participant 18, a
thirty-year-old female, stated that she felt the brunt of the media's thirty-year-old female, stated that she felt the brunt of the media's
negative indexes and experienced racist and teasing responses while at negative indexes and experienced racist and teasing responses while at
school. school.[^12]
Taha,[^12] a Nubian applied linguistic researcher, asserts that media in The present author,[^13] a Nubian applied linguistic researcher, asserts that media in
Egypt has played a significant role in perpetuating negative Egypt has played a significant role in perpetuating negative
stereotypes, such as depicting Nubians as speaking incomprehensible stereotypes, such as depicting Nubians as speaking incomprehensible
Arabic and occupying lower-class jobs. The case of Nubians\' portrayal Arabic and occupying lower-class jobs. The case of Nubians\' portrayal
@ -196,7 +196,7 @@ Media influence people and their beliefs; conversely, the media itself
is being influenced by several social, political, economic, and social is being influenced by several social, political, economic, and social
values. Particular ideologies are propagated in the media industry and values. Particular ideologies are propagated in the media industry and
these values or agendas are carefully chosen and play a crucial these values or agendas are carefully chosen and play a crucial
influential role in public discourse. Fairclough,[^13] an emeritus influential role in public discourse. Fairclough,[^14] an emeritus
linguist and pioneer in Critical Discourse Analysis, asserts that "media linguist and pioneer in Critical Discourse Analysis, asserts that "media
output is very much under professional and institutional control, and in output is very much under professional and institutional control, and in
general it is those who already have other forms of economic, political general it is those who already have other forms of economic, political
@ -205,7 +205,7 @@ words, the media industry is controlled by certain institutions that
have political, cultural, and economic power and immense influence. have political, cultural, and economic power and immense influence.
According to Fairclough, the media is a powerful tool that can shape According to Fairclough, the media is a powerful tool that can shape
government and parties, and influence "knowledge, belief, values, social government and parties, and influence "knowledge, belief, values, social
relations, and social identities."[^14] Thus, the media reflects our relations, and social identities."[^15] Thus, the media reflects our
societal and cultural values and ideologies. societal and cultural values and ideologies.
# Data # Data
@ -248,14 +248,14 @@ thus reinforcing stereotypes and maintaining the status quo of social
inequality. This analysis highlights the role of media in shaping inequality. This analysis highlights the role of media in shaping
perceptions and sustaining social hierarchies. perceptions and sustaining social hierarchies.
Ochs,[^15] a linguistic anthropologist, views indexicality as a spoken Ochs,[^16] a linguistic anthropologist, views indexicality as a spoken
property through which socio-cultural contexts (such as gender) and property through which socio-cultural contexts (such as gender) and
social activities (such as gossip) are formed by taking particular social activities (such as gossip) are formed by taking particular
stances that are indexed through the language chosen. In other words, stances that are indexed through the language chosen. In other words,
indexicality is interpreted in light of the semiotic associations indexicality is interpreted in light of the semiotic associations
between linguistic forms, social meanings, and identities. Ochs between linguistic forms, social meanings, and identities. Ochs
identifies two types of indexicality, direct and indirect, and each identifies two types of indexicality, direct and indirect, and each
performs different functions in discourse. According to Ochs,[^16] direct performs different functions in discourse. According to Ochs,[^17] direct
indexicality refers to interactional stances, including evaluative indexicality refers to interactional stances, including evaluative
stances, while indirect indexicality points to social stances. stances, while indirect indexicality points to social stances.
@ -263,13 +263,13 @@ Among those who refer to an index as contextualization cues are Hughes
and Tracy, discourse analysts, emphasizing that signaling context and and Tracy, discourse analysts, emphasizing that signaling context and
reinforcing pragmatic signs are crucial for effective communication. reinforcing pragmatic signs are crucial for effective communication.
They define indexicality as "the function by which linguistic and They define indexicality as "the function by which linguistic and
nonlinguistic signs point to aspects of context."[^17] According to nonlinguistic signs point to aspects of context."[^18] According to
Hughes and Tracy, indexicality is closely related to deixis and they could even be Hughes and Tracy, indexicality is closely related to deixis and they could even be
"sometimes interchangeable," but they consider deixis to be a specific "sometimes interchangeable," but they consider deixis to be a specific
type of indexicality, which helps participants navigate the oral or type of indexicality, which helps participants navigate the oral or
written discourse frame through understanding references. Indexical and written discourse frame through understanding references. Indexical and
cultural contextual cues are essential to properly interpret inferences cultural contextual cues are essential to properly interpret inferences
and understand the ideologies behind them Johnstone et al.,[^18] a group and understand the ideologies behind them Johnstone et al.,[^19] a group
of linguists, categorize indexes into two types; referential and of linguists, categorize indexes into two types; referential and
non-referential. On the one hand, referential indexes include pronouns non-referential. On the one hand, referential indexes include pronouns
and demonstratives i.e., the term denotation is based on the utterance and demonstratives i.e., the term denotation is based on the utterance
@ -278,7 +278,7 @@ that convey or construct social meaning. They consider 'social meaning'
to be a "concept that encompasses matters such as register (in the to be a "concept that encompasses matters such as register (in the
narrow sense of situation appropriateness), stance (certainty, narrow sense of situation appropriateness), stance (certainty,
authority, etc.), and social identity (class, ethnicity, interactional authority, etc.), and social identity (class, ethnicity, interactional
role, etc.)"[^19] They also explain further that the relationship role, etc.)"[^20] They also explain further that the relationship
between linguistic forms and social meanings can be manifested at between linguistic forms and social meanings can be manifested at
different levels of indexicality order. They consider the first-order different levels of indexicality order. They consider the first-order
indexes as unnoticeable and unintentional because they are common among indexes as unnoticeable and unintentional because they are common among
@ -293,7 +293,7 @@ In his seminal work, Silverstein, a leading linguistic anthropologist,
explores the order of indexicality, distinguishing between first and explores the order of indexicality, distinguishing between first and
second-order indexes. He notes that the second- order indexes are second-order indexes. He notes that the second- order indexes are
"creative or effective" and potentially can have ethno-metapragmatically "creative or effective" and potentially can have ethno-metapragmatically
driven interpretation.[^20] This interpretation allows speakers to not driven interpretation.[^21] This interpretation allows speakers to not
only presuppose meanings based on existing social structures or only presuppose meanings based on existing social structures or
stereotypes, but also to actively reshape and reinforce these meanings stereotypes, but also to actively reshape and reinforce these meanings
in dynamic, context-specific ways. In other words, the presupposed in dynamic, context-specific ways. In other words, the presupposed
@ -322,7 +322,7 @@ from unnoticed linguistic markers to socially meaningful symbols is
central to how media perpetuates harmful stereotypes and embeds them central to how media perpetuates harmful stereotypes and embeds them
into the cultural imagination. into the cultural imagination.
Eckert,[^21] a prominent sociolinguist, emphasizes the close connection Eckert,[^22] a prominent sociolinguist, emphasizes the close connection
between speakers' ideologies and stylistic practices (both linguistic between speakers' ideologies and stylistic practices (both linguistic
and non-linguistic) utilized to construct worldwide views and social and non-linguistic) utilized to construct worldwide views and social
meanings. I argue that the stylistic choices---such as dark skin meanings. I argue that the stylistic choices---such as dark skin
@ -388,7 +388,7 @@ with other lead characters enjoying his Arabic and Nubian songs. In
episode 12 of the 'Friends' soap opera, the show featured a pretend episode 12 of the 'Friends' soap opera, the show featured a pretend
Nubian wedding as a performance for tourists, intended to promote one of Nubian wedding as a performance for tourists, intended to promote one of
the lead characters' businesses by highlighting the cultural diversity the lead characters' businesses by highlighting the cultural diversity
of Egyptians and showcasing a unique authentic tradition.[^22] Overall, of Egyptians and showcasing a unique authentic tradition.[^23] Overall,
two of the main characters spoke very highly of Nubians, expressing two of the main characters spoke very highly of Nubians, expressing
respect and appreciation for both the people and their culture. respect and appreciation for both the people and their culture.
@ -403,7 +403,7 @@ boats, and musical instruments. These elements offer a rich and genuine
portrayal of Nubian heritage. For instance, episode 5 poignantly depicts portrayal of Nubian heritage. For instance, episode 5 poignantly depicts
the forced relocation of Nubians from their homeland villages, with the forced relocation of Nubians from their homeland villages, with
characters dressed in traditional Nubian clothing, sorrowfully leaving characters dressed in traditional Nubian clothing, sorrowfully leaving
their own homes.[^23] This scene tries to emphasize both the cultural their own homes.[^24] This scene tries to emphasize both the cultural
and historical significance of the events, providing a glimpse into the and historical significance of the events, providing a glimpse into the
struggles and resilience of the Nubian people, while grounding the struggles and resilience of the Nubian people, while grounding the
narrative in real experiences and traditions. narrative in real experiences and traditions.
@ -416,7 +416,7 @@ tricked with intelligibility issues or disabilities. The names of the
characters are mainly *Othman*, *Idris, or Seliman*. In the *il-fa:nu:s characters are mainly *Othman*, *Idris, or Seliman*. In the *il-fa:nu:s
ʔa-siħirj* 'The Magic Lantern,' a Nubian waiter fails to recognize that ʔa-siħirj* 'The Magic Lantern,' a Nubian waiter fails to recognize that
two pretend waiters, who are trying to retrieve magic lanterns, are not two pretend waiters, who are trying to retrieve magic lanterns, are not
Nubians.[^24] The two characters who only used a single word in Nubian Nubians.[^25] The two characters who only used a single word in Nubian
*maskagna* 'hello,' then make totally random sounds that do not belong *maskagna* 'hello,' then make totally random sounds that do not belong
to any language whatsoever. When asked if he understood the other two to any language whatsoever. When asked if he understood the other two
waiters, the Nubian waiter explains "I am not a fool, they are not from waiters, the Nubian waiter explains "I am not a fool, they are not from
@ -441,7 +441,7 @@ character and his family. Shockingly, some of these discriminatory
remarks come from the character himself, who is impersonating a Nubian remarks come from the character himself, who is impersonating a Nubian
man in blackface. In one particularly offensive scene, the actor Ramez man in blackface. In one particularly offensive scene, the actor Ramez
Galal addresses the Nubian character, saying, "Come on, you don't want Galal addresses the Nubian character, saying, "Come on, you don't want
your heart to be black, just like your face."[^25] This film contains your heart to be black, just like your face."[^26] This film contains
numerous racist and discriminatory indexes, perpetuating harmful numerous racist and discriminatory indexes, perpetuating harmful
stereotypes stereotypes
@ -455,15 +455,15 @@ law*ʔula: mabinħibʃ* 'We'd Be Lying to Say We Didn't Love,' streamed on
TV in 2013, a major female actress, Ragaa Al-Giddawy, refers to the TV in 2013, a major female actress, Ragaa Al-Giddawy, refers to the
Nubian male character and his family as "barbarians" saying "Listen, I Nubian male character and his family as "barbarians" saying "Listen, I
won't let you marry my daughter unless you bring all your barbarian won't let you marry my daughter unless you bring all your barbarian
folks right here to ask for her hand in marriage."[^26] In another soap folks right here to ask for her hand in marriage."[^27] In another soap
opera *ħuru:f ilnas<sup>ʕ</sup>b* 'Letters of Fraud', released in 2000, the actor opera *ħuru:f ilnas<sup>ʕ</sup>b* 'Letters of Fraud', released in 2000, the actor
Hisham Selim impersonates a Nubian by wearing waiter apparel, darkening Hisham Selim impersonates a Nubian by wearing waiter apparel, darkening
his face, and referring to himself as "Othman Abdel El-basset, the one his face, and referring to himself as "Othman Abdel El-basset, the one
Egyptian barbarian."[^27] In a movie produced in 1998 *s<sup>ʕ</sup>eʕidi fi Egyptian barbarian."[^28] In a movie produced in 1998 *s<sup>ʕ</sup>eʕidi fi
ilgamʕa ilamerikja* 'An upper-Egyptian at the American University of ilgamʕa ilamerikja* 'An upper-Egyptian at the American University of
Cairo', the actor Mohamed Henedi, tells a minor Nubian female character Cairo', the actor Mohamed Henedi, tells a minor Nubian female character
"No need to turn the light off. I cannot see your face already. Your "No need to turn the light off. I cannot see your face already. Your
face is as dark as the night."[^28] face is as dark as the night."[^29]
These examples highlight how media productions reinforce and perpetuate These examples highlight how media productions reinforce and perpetuate
negative stereotypes about Nubians through both visual and literary negative stereotypes about Nubians through both visual and literary
@ -496,9 +496,9 @@ resources of Nubian characters focusing on the stigmatized linguistic
and pronunciation errors portrayed and derived from movies and soap and pronunciation errors portrayed and derived from movies and soap
operas. In particular, I analyze several examples of stereotypical operas. In particular, I analyze several examples of stereotypical
language errors produced by characters portraying Nubians in movies and language errors produced by characters portraying Nubians in movies and
cartoons.[^29] cartoons.[^30]
## Actor Ali Kassar[^30] ## Actor Ali Kassar[^31]
![Gender confusion.](../static/images/taha/example1.jpg "Gender confusion.") ![Gender confusion.](../static/images/taha/example1.jpg "Gender confusion.")
**~~Example 1. Gender confusion.~~** **~~Example 1. Gender confusion.~~**
@ -506,11 +506,11 @@ cartoons.[^29]
In example 1a, a Nubian character is talking to a female character in In example 1a, a Nubian character is talking to a female character in
Arabic, but he mistakenly addresses her using a masculine possessive Arabic, but he mistakenly addresses her using a masculine possessive
form, which indicates that his Arabic is poor.[^31] Similarly, in form, which indicates that his Arabic is poor.[^32] Similarly, in
example 1b the Nubian character shows his lack of accuracy by using a example 1b the Nubian character shows his lack of accuracy by using a
feminine demonstrative with a masculine noun which is ungrammatical. feminine demonstrative with a masculine noun which is ungrammatical.
## Actors Gomaa Edriss and Ali Oraby[^32] ## Actors Gomaa Edriss and Ali Oraby[^33]
![Pronunciation error.](../static/images/taha/example2.jpg "Pronunciation error.") ![Pronunciation error.](../static/images/taha/example2.jpg "Pronunciation error.")
**~~Example 2. Pronunciation error.~~** **~~Example 2. Pronunciation error.~~**
@ -528,7 +528,7 @@ singular form, rather than a plural form. Examples 2c and 2d are
ungrammatical as the Nubian character uses plural and third person ungrammatical as the Nubian character uses plural and third person
masculine forms, respectively, when he refers to himself. masculine forms, respectively, when he refers to himself.
## Actor Sayed Sulieman[^33] ## Actor Sayed Sulieman[^34]
![Gender confusion.](../static/images/taha/example3.jpg "Gender confusion.") ![Gender confusion.](../static/images/taha/example3.jpg "Gender confusion.")
**~~Example 3. Gender confusion.~~** **~~Example 3. Gender confusion.~~**
@ -543,7 +543,7 @@ there is gender disagreement.
The following examples show the gender disagreement between determiners, The following examples show the gender disagreement between determiners,
quantifiers, and possessive markers and their modified nouns. quantifiers, and possessive markers and their modified nouns.
## Actor Ali Oraby[^34] ## Actor Ali Oraby[^35]
![Disagreement between modifiers.](../static/images/taha/example4.jpg "Disagreement between modifiers.") ![Disagreement between modifiers.](../static/images/taha/example4.jpg "Disagreement between modifiers.")
**~~Example 4. Disagreement between modifiers.~~** **~~Example 4. Disagreement between modifiers.~~**
@ -558,7 +558,7 @@ does not agree with the feminine noun. In a similar way, the Nubian
character uses masculine possessive markers when talking to his sister, character uses masculine possessive markers when talking to his sister,
rather than the feminine using possessive markers *bita:ʕek* 'your'. rather than the feminine using possessive markers *bita:ʕek* 'your'.
## Actor Mohamed El Adendani[^35] ## Actor Mohamed El Adendani[^36]
![Noun-verb disagreement.](../static/images/taha/example5.jpg "Noun-verb disagreement.") ![Noun-verb disagreement.](../static/images/taha/example5.jpg "Noun-verb disagreement.")
**~~Example 5. Noun-verb disagreement.~~** **~~Example 5. Noun-verb disagreement.~~**
@ -585,7 +585,7 @@ look for job opportunities had some language difficulties when learning
Arabic due to the influence of their mother tongue. For example, Arabic due to the influence of their mother tongue. For example,
Rouchdy, a linguistic researcher, noted in her research study in 1991, Rouchdy, a linguistic researcher, noted in her research study in 1991,
that non-competent Fadija bilingual speakers had a tendency to add the that non-competent Fadija bilingual speakers had a tendency to add the
suffix -a to borrowed Arabic words such as *aneeda* 'stubborn.'[^36] suffix -a to borrowed Arabic words such as *aneeda* 'stubborn.'[^37]
Nevertheless, do Nubians, considering all the generations that have Nevertheless, do Nubians, considering all the generations that have
emerged since the early relocations because of the Aswan Dam construction in emerged since the early relocations because of the Aswan Dam construction in
@ -650,6 +650,10 @@ with Fadija Nobiin speakers to show how they perceive the negative
indexes attributed to themselves and the Nubian language in the Egyptian indexes attributed to themselves and the Nubian language in the Egyptian
media. media.
![An example of the pictures shown to the participants to start the discussion. The image depicts two characters — Ismail Yassine on the right and Abdel Ghani El Nagdi on the left — who painted their faces black to impersonate Nubians. Source: Ilfa:nu:s ʔa-siħirj ‘The Magic Lantern’ (1960).](../static/images/taha/fig2.jpg "An example of the pictures shown to the participants to start the discussion. The image depicts two characters — Ismail Yassine on the right and Abdel Ghani El Nagdi on the left — who painted their faces black to impersonate Nubians. Source: Ilfa:nu:s ʔa-siħirj ‘The Magic Lantern’ (1960).")
**~~Figure 2. An example of the pictures shown to the participants to start the discussion. The image depicts two characters — Ismail Yassine on the right and Abdel Ghani El Nagdi on the left — who painted their faces black to impersonate Nubians. Source: Ilfa:nu:s ʔa-siħirj ‘The Magic Lantern’ (1960).~~**
# Discussion: Results and findings summary # Discussion: Results and findings summary
To analyze the discussion data, I coded the discussion data and then To analyze the discussion data, I coded the discussion data and then
@ -678,7 +682,7 @@ On the other hand, Dr. Mohammad Ali-Bik asserts that media makers
consistently presented a stereotypical exaggerated image of Nubians consistently presented a stereotypical exaggerated image of Nubians
portrayed as less sophisticated and naïve, even though, in reality, they portrayed as less sophisticated and naïve, even though, in reality, they
are recognized within the Egyptian society for their honesty and are recognized within the Egyptian society for their honesty and
straightforwardness.[^37] He further stated that Egyptian media has straightforwardness.[^38] He further stated that Egyptian media has
marginalized Nubians in many ways, including associating them with marginalized Nubians in many ways, including associating them with
exaggerated negative portrayals, and primarily depicting them in exaggerated negative portrayals, and primarily depicting them in
low-income jobs such as doorkeepers and workers in houses, hotels, and low-income jobs such as doorkeepers and workers in houses, hotels, and
@ -789,14 +793,14 @@ and cultures. Several recently produced documentaries about Nubians are
available on YouTube, covering topics like food, the Nile River available on YouTube, covering topics like food, the Nile River
sacredness, handicrafts, weddings, homescapes, and customs. sacredness, handicrafts, weddings, homescapes, and customs.
Notable examples include *aj-ga ʤilli* 'Remember me',[^38] uploaded in Notable examples include *aj-ga ʤilli* 'Remember me',[^39] uploaded in
2011 and *Sono* 'roots' in 2020,[^39] both of them offering viewers a 2011 and *Sono* 'roots' in 2020,[^40] both of them offering viewers a
more accurate and respectful look at the richness of Nubian culture. more accurate and respectful look at the richness of Nubian culture.
## Depictions of Nubians in documentary movies ## Depictions of Nubians in documentary movies
Similarly, music video clips have an essential and promising role in Similarly, music video clips have an essential and promising role in
maintaining the Nubian language and cultural heritage.[^40] These music maintaining the Nubian language and cultural heritage.[^41] These music
videos are also accessible on YouTube and discuss vital issues such as videos are also accessible on YouTube and discuss vital issues such as
migration, relocation, family bonds, solidarity, religion, and other migration, relocation, family bonds, solidarity, religion, and other
inspirational themes. Figure 7 presents question five discussion inspirational themes. Figure 7 presents question five discussion
@ -858,7 +862,7 @@ Nubian customs and home lifestyles.
In an interview with the Egyptian pop singer, Eyre asked Mounir about In an interview with the Egyptian pop singer, Eyre asked Mounir about
his Nubian roots and history during his lifetime.[^41] In responding to his Nubian roots and history during his lifetime.[^42] In responding to
this question, Mounir asserts that he does not this question, Mounir asserts that he does not
> understand why the words \"Nubia\" and \"Nubian\" have become such a > understand why the words \"Nubia\" and \"Nubian\" have become such a
@ -1072,7 +1076,7 @@ established by and for Nubians, aimed at promoting their culture and
heritage while reviving their language. heritage while reviving their language.
Among the YouTube social forums are "Nub Tube" and "I and "Nuba Among the YouTube social forums are "Nub Tube" and "I and "Nuba
Channel."[^42] Through these initiatives, Nubians are creating a Channel."[^43] Through these initiatives, Nubians are creating a
positive stance, emphasizing their identities, their language and positive stance, emphasizing their identities, their language and
cultural values, and their true characteristics and traits. By refusing cultural values, and their true characteristics and traits. By refusing
to accept stereotypes and negative indexes, they leverage these to accept stereotypes and negative indexes, they leverage these
@ -1098,7 +1102,7 @@ Nubians and non-Nubians who appreciate and admire the Nubian language
and culture actively challenge negative stereotypes by voicing their and culture actively challenge negative stereotypes by voicing their
opinions, condemning such biases, and creating platforms that opinions, condemning such biases, and creating platforms that
authentically represent their identity and heritage. One example is the authentically represent their identity and heritage. One example is the
Art of Nubia website,[^43] which features a variety of sections Art of Nubia website,[^44] which features a variety of sections
dedicated to the Nubian language, books about the language, proverbs and dedicated to the Nubian language, books about the language, proverbs and
wisdom, courses and lessons, songs, history, Nubian literature, dance, wisdom, courses and lessons, songs, history, Nubian literature, dance,
and weddings. This impressive initiative was founded and is maintained and weddings. This impressive initiative was founded and is maintained
@ -1114,7 +1118,7 @@ ethical values, and simplicity". Through this initiative, she hopes to
raise awareness of this remarkable culture and combat racism and raise awareness of this remarkable culture and combat racism and
discrimination. discrimination.
Another example is the NAPATA website,[^44] which is currently Another example is the NAPATA website,[^45] which is currently
undergoing redesign. Similar to the Art of Nubia, NAPATA provides undergoing redesign. Similar to the Art of Nubia, NAPATA provides
information on Nubian poetry, music, language, history, and heritage. As information on Nubian poetry, music, language, history, and heritage. As
a non-profit organization, NAPATA is dedicated to serving the needs of a non-profit organization, NAPATA is dedicated to serving the needs of
@ -1225,10 +1229,10 @@ them and elaborate on the target questions.
How are Nubians represented in the cartoon? Do you believe that How are Nubians represented in the cartoon? Do you believe that
their representations are realistic? their representations are realistic?
# Appendix 2: IPA transcription of Arabic[^45] # Appendix 2: IPA transcription of Arabic[^46]
![Table with IPA transcription of Arabic.](../static/images/taha/appendix2.jpg "Table with IPA transcription of Arabic.") ![Table with IPA transcription of Arabic.](../static/images/taha/appendix2.jpg "Table with IPA transcription of Arabic.")
**~~~~** **~~Table with IPA transcription of Arabic.~~**
# Bibliography # Bibliography
@ -1317,63 +1321,65 @@ Arabic in Egypt." *Dotawo* 6, 1 (2019): pp. 113--48
[^11]: Bassiouney, Constructing the Stereotype: Indexes and Performance [^11]: Bassiouney, Constructing the Stereotype: Indexes and Performance
of a Stigmatized local dialect in Egypt, p.3. of a Stigmatized local dialect in Egypt, p.3.
[^12]: Taha, From Nub to Dahab: The Lexical Shift of Fadija Nobiin to [^12]: Detailed information about the participants and their backgrounds can be found in Table 1.
[^13]: Taha, From Nub to Dahab: The Lexical Shift of Fadija Nobiin to
Arabic in Egypt, p. 118. Arabic in Egypt, p. 118.
[^13]: Fairclough, Language and Globalization, p. 40. [^14]: Fairclough, Language and Globalization, p. 40.
[^14]: Fairclough, Language and Globalization, p. 2. [^15]: Fairclough, Language and Globalization, p. 2.
[^15]: Ochs, Indexing Gender. [^16]: Ochs, Indexing Gender.
[^16]: Ibid. [^17]: Ibid.
[^17]: Hughes and Tracy, Indexicality, p. 1. [^18]: Hughes and Tracy, Indexicality, p. 1.
[^18]: Johnstone et al., Mobility, Indexicality, and the Enregisterment [^19]: Johnstone et al., Mobility, Indexicality, and the Enregisterment
of 'Pittsburghese'. of 'Pittsburghese'.
[^19]: PAGE NUMBERS [^20]: PAGE NUMBERS
[^20]: Silverstein, Indexical order and the Dialectics of [^21]: Silverstein, Indexical order and the Dialectics of
Sociolinguistic Life, p. 194. Sociolinguistic Life, p. 194.
[^21]: Eckert, Variation and the Indexical field. [^22]: Eckert, Variation and the Indexical field.
[^22]: See [^23]: See
https://www.youtube.com/watch?v=k0EE24Pc02E https://www.youtube.com/watch?v=k0EE24Pc02E
(accessed May 2021). (accessed May 2021).
[^23]: See [^24]: See
https://www.youtube.com/watch?v=vYfif7sAnpw&list=PL4ZQAyKFoBc-GzgfgRN8M9HJe152WYJ9D&index=5 https://www.youtube.com/watch?v=vYfif7sAnpw&list=PL4ZQAyKFoBc-GzgfgRN8M9HJe152WYJ9D&index=5
[^24]: See [^25]: See
https://www.youtube.com/watch?v=vLW3gDcVzak https://www.youtube.com/watch?v=vLW3gDcVzak
(accessed in May 2021). (accessed in May 2021).
[^25]: See [^26]: See
https://www.youtube.com/watch?v=L7L8zMTxsYc https://www.youtube.com/watch?v=L7L8zMTxsYc
(accessed in June 2020). (accessed in June 2020).
[^26]: See [^27]: See
https://www.youtube.com/watch?v=-G-5gKXOkNQ https://www.youtube.com/watch?v=-G-5gKXOkNQ
(accessed May 2021). (accessed May 2021).
[^27]: See https://www.youtube.com/watch?v=ctImkHHP9x4 [^28]: See https://www.youtube.com/watch?v=ctImkHHP9x4
(accessed August 2021). (accessed August 2021).
[^28]: See [^29]: See
https://www.youtube.com/watch?v=_A90OVqQtSM https://www.youtube.com/watch?v=_A90OVqQtSM
(accessed September 2021). (accessed September 2021).
[^29]: Glossing abbreviations used in this paper: 1- first person; 2- [^30]: Glossing abbreviations used in this paper: 1- first person; 2-
second person; 3- third person; IMP- imperative; PR- proper noun; second person; 3- third person; IMP- imperative; PR- proper noun;
DEM- demonstrative; PRS- present; PST- past; FUT- future marker; SG- DEM- demonstrative; PRS- present; PST- past; FUT- future marker; SG-
singular; PL- plural; PREP- preposition; NEG- negation; WH.Q- WH singular; PL- plural; PREP- preposition; NEG- negation; WH.Q- WH
question; Q- question particle; QUANT- quantifier ; PCP- participle; question; Q- question particle; QUANT- quantifier ; PCP- participle;
PM- possessive marker; M- masculine; F- feminine; VOC- vocative. PM- possessive marker; M- masculine; F- feminine; VOC- vocative.
[^30]: He was a non-Nubian Egyptian actor born in 1887. He was one the [^31]: He was a non-Nubian Egyptian actor born in 1887. He was one the
earliest actor to stigmatize and grossly exaggerate Nubians in earliest actor to stigmatize and grossly exaggerate Nubians in
movies and plays. His style of portraying Nubians, that includes movies and plays. His style of portraying Nubians, that includes
ridiculing their Arabic fluency and accuracy, is still used in ridiculing their Arabic fluency and accuracy, is still used in
@ -1381,20 +1387,20 @@ Arabic in Egypt." *Dotawo* 6, 1 (2019): pp. 113--48
https://www.youtube.com/watch?v=UAPYImuAK_g https://www.youtube.com/watch?v=UAPYImuAK_g
(accessed June 2021). (accessed June 2021).
[^31]: Arabic is a grammatically gendered language in which verbs, [^32]: Arabic is a grammatically gendered language in which verbs,
nouns, and adjective always assign either a male or female case nouns, and adjective always assign either a male or female case
based on the person addressed. For example, nouns and adjectives or based on the person addressed. For example, nouns and adjectives or
nouns have to agree in gender. nouns have to agree in gender.
[^32]: See [^33]: See
https://www.youtube.com/watch?v=l_18m7gWKQM https://www.youtube.com/watch?v=l_18m7gWKQM
(accessed July 2021). (accessed July 2021).
[^33]: See [^34]: See
https://www.youtube.com/watch?v=vLW3gDcVzak https://www.youtube.com/watch?v=vLW3gDcVzak
(accessed May 2021). (accessed May 2021).
[^34]: See [^35]: See
https://www.youtube.com/watch?v=PmgjwTZ6aRMfor https://www.youtube.com/watch?v=PmgjwTZ6aRMfor
4a; 4a;
https://www.youtube.com/watch?v=ryWp_nqybmI https://www.youtube.com/watch?v=ryWp_nqybmI
@ -1402,39 +1408,39 @@ Arabic in Egypt." *Dotawo* 6, 1 (2019): pp. 113--48
https://www.youtube.com/watch?v=ZF8dncakq7k https://www.youtube.com/watch?v=ZF8dncakq7k
for 4c (accessed August 2021). for 4c (accessed August 2021).
[^35]: See [^36]: See
https://www.youtube.com/watch?v=ixZ9YtVLU3Q https://www.youtube.com/watch?v=ixZ9YtVLU3Q
(accessed September 2021). (accessed September 2021).
[^36]: Rouchdy, *Nubians and the Nubian Language in Contemporary Egypt*, [^37]: Rouchdy, *Nubians and the Nubian Language in Contemporary Egypt*,
p.27. p.27.
[^37]: I would like to thank my dear uncle Dr. Mohammad Ali-Bik, a [^38]: I would like to thank my dear uncle Dr. Mohammad Ali-Bik, a
professor of Mineralogy and Geochemistry at the Department of professor of Mineralogy and Geochemistry at the Department of
Geological Sciences in the Egyptian National Research Center, for Geological Sciences in the Egyptian National Research Center, for
all his insights and feedback. I am also very grateful to all my all his insights and feedback. I am also very grateful to all my
family members and friends who helped me with the survey study. family members and friends who helped me with the survey study.
[^38]: See https://www.youtube.com/watch?v=8X5bm0m-2SA (accessed in September 2024). [^39]: See https://www.youtube.com/watch?v=8X5bm0m-2SA (accessed in September 2024).
[^39]: See https://www.youtube.com/watch?v=AU0clu5ft-E (accessed in September 2021). [^40]: See https://www.youtube.com/watch?v=AU0clu5ft-E (accessed in September 2021).
[^40]: In this study, music video refers to video recorded or filmed [^41]: In this study, music video refers to video recorded or filmed
performances usually accompanied by dancing, visual images, and performances usually accompanied by dancing, visual images, and
musical instruments intended to promote and showcase artists and musical instruments intended to promote and showcase artists and
cultures and marketing for their albums. cultures and marketing for their albums.
[^41]: Afropop Worldwide interviewed Mohamed Mounir in July 2011 and [^42]: Afropop Worldwide interviewed Mohamed Mounir in July 2011 and
published in April 2012. Banning Eyre and Sean Barlow wrote and published in April 2012. Banning Eyre and Sean Barlow wrote and
conducted the radio broadcasted interview with Mounir discussing the conducted the radio broadcasted interview with Mounir discussing the
Egyptian revolution. Egyptian revolution.
[^42]: See https://www.youtube.com/%40NubaTubeChannel (accessed September 2021) and http://www.youtube.com/%40%D9%82%D9%86%D8%A7%D8%A9%D8%A7%D9%84%D9%86%D9%88%D8%A8%D8%A9-%D8%B77%D8%B9 [^43]: See https://www.youtube.com/%40NubaTubeChannel (accessed September 2021) and http://www.youtube.com/%40%D9%82%D9%86%D8%A7%D8%A9%D8%A7%D9%84%D9%86%D9%88%D8%A8%D8%A9-%D8%B77%D8%B9
(accessed September 2021) respectively. (accessed September 2021) respectively.
[^43]: https://artofnubia.com/index.html [^44]: https://artofnubia.com/index.html
[^44]: https://www.napata.org/language.html [^45]: https://www.napata.org/language.html
[^45]: Appendix 2 provides a description of the Arabic IPA Arabic sounds [^46]: Appendix 2 provides a description of the Arabic IPA Arabic sounds
used in this paper. used in this paper.