Lyricson Born 2 Go High Rar
It is important to understand that the reason a norm-violating social situation was chosen to induce identity threat was because in the Indian context caste norm violation is perhaps the most salient identity threat situation. Deshpande (2010) explains that caste has acquired hereditary characteristics in the Indian society which comes with certain norms that evolved from ancient scriptures. Thus, when these norms are violated in the society, it is received with punitive costs. The threat used in this context violated the basic morality values of the caste and according to Branscombe et al. (2000), threat to moral values leads to defensive reactions and perceived in-group heterogeneity, especially amongst high identifiers. Thus, when the high caste moral code of being virtuous and non-aggressive was violated, highly identified high caste members strengthened their identity and showed in-group derogation by devaluing the status of the in-group deviant. This reasoning was further confirmed when high-caste individuals in the norm-inconsistent (violating) condition showed lower moral acceptability of the behavior when the perpetrator was a high-caste member.
lyricson born 2 go high rar
Secondly, the results also show that only high-caste individuals seem to be affected by the norm violation identity threat in making status representations but not the low-caste individuals. In fact, the low-caste individuals seem to show no differences in the way they represent status and moreover they seem to do so in a status-congruent direction, that is, the perpetrator is always depicted as having high status and a victim is always depicted as having low status. This could possibly be the case because historically low-caste individuals are the stigmatized low status groups (Mahalingam, 2003). Therefore, they probably do not experience the same amount of identity threat in a norm-violation condition as the high-caste individuals. The low caste individuals, due to the belief that their caste was not acquired through birth (Dube, 2001) and the lack of an established status, probably also showed lesser identification with their low-caste. Thus, when a low- caste individual reads a story about a norm-violating low-caste member who is in fact a victim, there is no threat that is activated probably because they do not show high identification. Furthermore, being portrayed as a victim does not threaten the image of the in-group of low caste individuals, thereby lowering the need to protect the in-group image.
Finally, the results also confirm the social consequences of a caste-based system in terms of affirmative action. As pointed out by Siddique (2011), affirmative action policies were introduced to improve the quality of life of low-caste individuals. However, it was soon met with opposition from the high-caste community. Sometimes caste is not always related to class, so it is possible that someone of low caste could be of high class and therefore have sufficient means and opportunities at places of education and government jobs. Thus, the present results confirmed that high-caste individuals would generally oppose affirmative action, whereby this link was partially mediated through high-caste identity. More importantly, again, none of the alternative identities played a role in determining attitudes toward affirmative action. This is unsurprising because affirmative action was introduced as an outcome of revisiting the consequence of the caste system for low-caste individuals. Therefore, other identities do not seem to play a vital role in predicting these effects.
Hval's feminism and her interests (both musical and scholarly) in gender and sexuality continue to factor into this album, as they have in her past work. The urgency and directness with which she confronts them, though, are new. She incorporates periods, speculums and birth control into her lyrics, which are sometimes sung, sometimes spoken and always direct as a harpoon. There's a palpable lack of pretense or distortion to Hval's linguistic faculties here, which is a change from her earlier, more theoretically dense projects. The choppy, almost gasping style of delivery she uses across Blood Bitch sounds like it could be completely spontaneous, or could be predetermined to the point of agony. The overall effect is that she's chasing her ideas; like she's not entirely in control of the process of choosing them. This record is only superficially about the supernatural. At its core, it's an unmistakably human cross-section, and Hval's great asset is her ability to turn an X-ray into a wonder cabinet. Emily Dickinson named this gift perfectly, 100 years before Hval was born: She tells all the truth, but tells it slant.