What is considered to be fair depends on context-dependent expectations. Using a modified version of the Ultimatum Game, we demonstrate that both fair behavior and perceptions of fairness depend upon beliefs about what one ought to do in a situation-that is, upon normative expectations. We manipulate such expectations by creating informational asymmetries about the offer choices available to the Proposer, and find that behavior varies accordingly. Proposers and Responders show a remarkable degree of agreement in their beliefs about which choices are considered fair. We discuss how these results fit into a theory of social norms.

Drawing on recent work on the linguistic production of social markedness, this article explores the cross‐border usage of what I term the “Dallas” chronotope: a form of poetics that critically frames the political‐economic logics that undergird the markedness structure central to the time–space relational construction of migrant illegality. In a community where back‐and‐forth movements between Mexico and the United States result in varying degrees of Spanish–English bilingualism, the Spanish expression “da' las” (to give ‘em)—short for “dar las nalgas” (to give your buttocks; a reference to getting screwed, comparable to the English colloquial expression “to give it up” in reference to a sexual offering)—is invoked as a phonetic equivalent of “Dallas,” the name of the city in Texas, figuratively equating the social violation of migrants with sexual violation of the body. I extend the analytical frame of markedness through an application of the notion of biopolitics to these instances of linguistically mediated spatiotemporality within a U.S.–Mexico transnational context in order to describe how embodied poetics figuratively construct a resilient sense of migrant personhood that undermines its marked status and literally performs resiliency into being.

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In Sounds of Crossing Alex E. Chávez explores the contemporary politics of Mexican migrant cultural expression manifest in the sounds and poetics of huapango arribeño, a musical genre originating from north-central Mexico. Following the resonance of huapango's improvisational performance within the lives of audiences, musicians, and himself—from New Year's festivities in the highlands of Guanajuato, Mexico, to backyard get-togethers along the back roads of central Texas—Chávez shows how Mexicans living on both sides of the border use expressive culture to construct meaningful communities amid the United States’ often vitriolic immigration politics. Through Chávez's writing, we gain an intimate look at the experience of migration and how huapango carries the voices of those in Mexico, those undertaking the dangerous trek across the border, and those living in the United States. Illuminating how huapango arribeño’s performance refigures the sociopolitical and economic terms of migration through aesthetic means, Chávez adds fresh and compelling insights into the ways transnational music-making is at the center of everyday Mexican migrant life.

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