Dawkins (2010), "Close to the Edge: The Representational Tactics of Eminem"

Dawkins (2010) uses de Certeau to examine the dichotomy between Eminem and the black hip hop tradition, arguing that Eminem uses three strategies to bounce between his identity as white outsider and “black” insider. Dawkins’ (2010) primary purpose in the article is to use Eminem as a case study for understanding transracial politics in the popular culture arena. 

1. Eminem redraws the boundary of the Other as women, LGBT people, and rich white men

First, she argues, Eminem marginalizes women, homosexuals, and certain classes of white men in order to redraw the same/Other boundary. By exaggerating the Othered status of these groups, Eminem solidifies his position at the top of the hierarchy through his own hip hop sameness. 

2. Eminem marks himself as unique. He uses this uniqueness to position himself as unique within the Black community in which he wishes to perform.

Second, in carving out this borderland space for his hip hop sameness, Eminem's marketability relies on his uniqueness. This uniqueness becomes a rhetoric of authenticity, as he asserts the existence of a “real Slim Shady” thereby denigrating other white rappers (and Marshall Mathers) as imposters. 

3. Eminem reproduces his position as within the Black community in a variety of platforms. This reinforces the role he has carved for himself.

Third, Dawkins (2010) argues that Eminem disguises the manufacturing of his own sameness by combining a variety of cultural materials and styles into a hip hop brand. He sells his authenticity by endlessly reproducing it.