Em dezembro de 2004, Chico Buarque lançou a hipótese de que o rap talvez representasse o fim da canção tal como a conhecemos: ou seja, aquela tradição que se caracteriza por um princípio formal melódico-entoativo que realiza esteticamente certa dinâmica de encontros culturais presentes na sociedade brasileira, e que foi incorporada a um projeto de modernização a partir da Bossa Nova. O objetivo desse trabalho é adentrar esse debate compreendendo o sentido mais amplo de seus termos, delimitando mais precisamente qual é essa tradição, o que a tornou possível, e o que se esgotou em sua forma. A partir desse reconhecimento inicial, iremos nos debruçar sobre aquele modelo estético que emerge a partir desse esgotamento, acompanhando detidamente aquela que é uma de suas mais bem realizadas elaborações - a produção do grupo paulistano Racionais MCs, verdadeiro acontecimento que modifica as coordenadas nas quais a música popular brasileira se reconhece. Os raps criados pelo grupo instauram um novo paradigma na canção , ao se vincular a um projeto civilizatório que rompe com certa tradição cordial brasileira, construindo um novo ponto de vista a partir da periferia. / In December 2004, Chico Buarque hypothesized that rap music might represent the end of the song \"as we know it\": that is, the end of a tradition characterized by a melodic formal principle that aesthetically performs a series of cultural encounters present in the Brazilian society, and that was also incorporated into a modernization project with the advent of Bossa Nova. The aim of this work is to enter such debate with a deep understanding of its terms, defining more precisely what that tradition is, what made it possible, and what has since been exhausted in its form. Based on this initial recognition, we will look into the aesthetic model that emerges from this exhaustion, closely analyzing what is one of its best elaborations: the production of São Paulo rap music group Racionais MCs, an event that changed the coordinates in which Brazilian popular music is recognized. The rap music created by the group set up a new paradigm for the concept of song in Brazil, by linking itself to a civilizing project that breaks with the Brazilian tradition of cordiality, building a new point of view based on the urban periphery.

Orientador: Jonas de Araujo Romualdo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T02:35:20Z (GMT). No. of bitstreams: 1 Motta_AnaRaquel_M.pdf: 8660405 bytes, checksum: b8e98736253d1f2301b7cf940f179896 (MD5) Previous issue date: 2004 / Resumo: Este trabalho é uma análise das práticas discursivas a que adere o grupo de rap Racionais MCs, considerado por grande parte do público e da mídia como o mais importante grupo deste gênero musical no Brasil. O primeiro capitulo traça um breve panorama histórico do rap (rhythm and poetryj, o que inclui: seu nascimento nos guetos de Nova Iorque, EUA, no final da década de 1960 e sua chegada ao Brasil, mais especificamente a São Paulo, na década de 1980. Faz também uma reconstituição histórica do surgimento e trajetória do grupo Racionais MCs, através da união de seus quatro integrantes: Mano Brown e Ice Biue (da zona sul da periferia paulistana) e Edi Rock e KL Jay (da zona norte da periferia paulistana). Ainda nesse capítulo, estabelece-se uma breve discussão conceituai sobre o rap ser um género independente, que pode ser usado por qualquer grupo social, ou parte de uma determinada formação discursiva. Os segundo e terceiro capítulos aplicam à obra dos Racionais as sete hipóteses do livro Genèses du Discours, do autor francês Dominique Maingueneau. O segundo capítulo engloba as quatro primeiras hipóteses, que vinculam o discurso ao interdiscurso e buscam compor uma teoria acerca da competência discursiva. O terceiro capítulo engloba as três últimas hipóteses de Maingueneau, que se caracterizam por associar o discurso a instâncias vistas comumente pela Análise do Discurso como "exteriores" a ele: a institucional, a intersemiótica e a histórica. O quarto e último capítulo foca especificamente a construção do ethos discursivo dos Racionais MCs, levantando e analisando cinco características que se depreendem do corpus de estudo como fundamentais para a constituição do sujeito autorizado por esta formação discursiva / Abstract: This work is an analysis of the discursive practices utilized by the rap group Racionais MCs, considered by a great portion of the public and midia as the most important one in the Brazilian rap scenario. The first chapter outlines a brief historic context of rap (rhythm and poetry), including: its beginning m the New York City guetoes. in the 1960's and ns arrival m Brazil, more specifically in Sao Paulo, in the 1980's. It also reconstitutes the history of the sprouting and evolution of the group Racionais MCs. through the gathering of its four members; Mano Brown and Ice Blue (from the south side outskirts of São Paulo) and Edi Rock and KL Jay (from the north side outskirts of São Paulo). Still in this chapter, a brief conceptual discussion takes place about rap being an independent music style, that can be used by any social class, or still part of a determined discursive formation. The following chapters, second and third, apply to the Racionais' work the seven hypotheses from the book Genèses du Discours, by the French writer Dominique Maingueneau. The second chapter covers the first four hypotheses, that tie the discourse to the inter-discourse and seek to compose a theory regarding the discursive competence. The third chapter refers to the last three hypotheses from Maingueneau. which can be characterized by the association of the discourse to instances commonly viewed by the Discourse Analysis as "exterior" to it: institutional, intersemiotical and historical. The fourth and last chapter focuses specifically on the construction of the discursive ethos of the Racionais MCs, raising and analyzing five characteristics that are perceived from the corpus of study as key to the constitution of the subject authorized by this discursive formation / Mestrado / Linguistica / Mestre em Linguística

African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers. AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns. The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.

La recherche clinique conduite en psychiatrie porte sur les processus psychiques inconscients engagés pour le sujet de l’inconscient dans la création de rap. L’épistémologie psychanalytique s’appuie sur les concepts freudiens et lacaniens. Une approche transversale linguistique et sociologique permet de définir le rap comme un langage et un phénomène esthétique. La problématique s’intéresse à l’implication des processus de déplacement, de condensation, de substitution et d’association des représentants des représentations et aux processus d’identification et narcissiques en question pour le sujet individuel et la formation collective. L’hypothèse principale est que cette inventivité de langage à la marge du langage académique soutient le sujet. L’hypothèse secondaire rattachée à la première est qu’il autorise une forme de lien social. La méthodologie s’appuie sur deux axes, le premier concerne l’analyse qualitative du discours d’un corpus de textes de rappeurs connus à partir de l’outil Tropes d’analyse linguistique, sémantique et syntaxique, et l’analyse des observations et entretiens extraits du journal de bord de l’atelier-rap proposé aux patients du secteur. Le second axe concerne l’interprétation psychopathologique des résultats pour chaque auteur du corpus et la présentation de vignettes cliniques pour les rappeurs de l’atelier. L’étude comparative des résultats permet la discussion et la vérification des hypothèses. / Conduct clinical research in psychiatry focuses on unconscious mental processes involved in the subject of the unconscious in the creation of rap. The psychoanalytic epistemology is based on Freudian and Lacanian concepts. A linguistic and sociological approach to define rap as a language and an esthetic phenomenon. The issue focuses on the involvement of the process of displacement, condensation, substitution and association representative’s representations and identification and narcissistic in question for the individual subject and collective training process. The main hypothesis is that the inventiveness of language on the margins of academic language supports the subject. The secondary hypothesis attached to the first is that it allows a form of social relationship. The methodology is based on two axes, the first concerns the qualitative discourse analysis of a corpus of texts known rappers from Tropes tool of linguistic analysis, semantic and syntactic, and analysis of observations and excerpts from interviews logbook of the proposed patient sector workshop report. The second axis concerns the psychopathological interpretation of the results for each author of the corpus and the presentation of clinical vignettes for rappers workshop. The comparative study of the results allows the discussion and testing of hypotheses.

A leur apparition, à la fin des années 1970 et au début des années 1980, le rap, le ragga et le punk français se distinguent substantiellement de la tradition de la chanson française qui demeure intimement liée à la tradition musicale occidentale et au chant. En particulier, l’expression vocale y est plus proche de la parole que du chant, et s'y révèle plus rythmique que mélodique. Cette singularité rend difficile toute analyse musicologique traditionnelle, et les analyses existantes se fondent davantage sur l’analyse du texte et le contexte social que sur la réalisation sonore. L’objet de notre thèse est de proposer une méthode d'analyse musicale assistée par ordinateur de la prosodie musicale à l’œuvre dans ces styles de musiques populaires, et ce, à partir de l’analyse automatique du son. L’extraction automatique des structures rythmiques de la voix à partir de l’analyse du son devrait permettre d’objectiver les propriétés rythmiques de la musique populaire. L’ensemble des analyses permettra d'observer précisément les relations rythmiques qu'entretiennent la voix et la musique, dans le but de caractériser et de différencier des styles de musique populaire. La période choisie (1977-1992) correspond à la sortie des premiers albums de punk en langue française et se clôt avec celle du premier album du groupe Massilia Sound System, pionniers du ragga marseillais. Quinze morceaux ont été choisis, cinq par style, pour leur représentativité de la diversité des premières productions en langue française dans chaque style. La présentation et l'application de notre méthode à des styles différents permettront d'initier l'étude approfondie de la prosodie musicale au sein de musiques vocales dans lesquelles le jeu rythmique prime sur la mélodicité. / At their appearance in the late 1970s and early 1980s, rap, ragga and punk french differ substantially from the tradition of French song which remains closely tied to the occidental musical tradition and singing. In particular, the vocal expression is closer to the word of the song, and it reveals more rhythmic than melodic. This uniqueness makes it difficult for traditional musicological analysis, and existing analyzes are based more on the analysis of the text and the social context that the sound production. The purpose of our work is to propose a method of computer-aided musical analysis of musical prosody at work in these popular styles of music, and this, from the automatic analysis of sound. Automatic extraction of rhythmic structures of the voice from the sound analysis should objectify the rhythmic properties of popular music. The analyzes will observe precisely the rhythmic relationship between voice and music, in order to characterize and differentiate the styles of popular music. The chosen period (1977-1992) corresponds to the output of the first punk albums in French and ends with that of the first album of Massilia Sound System, ragga pioneers of Marseilles. Fifteen songs were chosen by five style, for they represent the diversity of the first French-language productions in each style. The presentation and application of our method to different styles will initiate a comprehensive study of the musical prosody in vocal music in which the rhythm bonus game on the mélodicity.

Né en dehors de la Littérature et des débats qu'elle entretient sur elle-même, le rap français n'en réactive pas moins les fonctions primordiales; en effet, de par leur participation au scriptural le plus obstiné comme à l'oralité la plus vive, les rappeurs nous rappellent, en faisant pour ainsi dire offrande de leur voix, que l'écriture poétique consiste toujours en un usage intensif du langage qui, au-delà de toute portée communicationnelle, s'acharne à faire jaillir des mots toute leur prodigieuse musicalité, picturalité, matérialité, et bien plus. Non pas « bien écrire », car cela n'est rien, mais faire délirer la langue, afin d'en revenir à l'émotion primordiale, au pouvoir et à la jouissance qu'elle procure. Évidemment, les rappeurs ne disent rien d'autre que ce que disaient déjà Céline, Artaud, pour ne citer qu'eux, quant aux capacités respiratoires décidément enfouies dans cette langue officielle qu'il faudra décidément secouer de tous les spasmes amoureux, cruels. En un premier chapitre génésique, nous arracherons le rap français c'est-à-dire notre corpus, à la culture mondiale du hip-hop pour lui reconnaître un droit au particularisme, à l'atavisme bien français. Nous verrons alors à travers la « petite invention » du flow (l'expression est célinienne), comment les rappeurs révèlent ce tiers-lieu fragile entre l'écrit et l'oralité, le papier muet (l'est-il jamais vraiment ?) et la gorge. Ce tiers-lieu, c'est aussi celui de la périphérie proprement banlieusarde que les rappeurs célèbrent à l'envi. Nous verrons ici comment les rappeurs rejetés aux lisières, et donc partant d'une situation d'étrangeté flagrante, ont su faire de cette minorité subie une véritable esthétique de la périphérie, mais plus encore, l'angle privilégié pour procéder à un usage intensif de la langue normative. Faire délirer la langue a un prix, celui de délirer avec, et partant, d'expérimenter les devenirs qui traversent alors cette écriture poétique, laquelle engage jusqu'au corps même de l'écrivain. Notre dernier axe d'étude sera donc consacré à cette grande question du moi je écrivant en littérature à laquelle les rappeurs semblent avoir apporté une réponse probante et même un terme consacré, l'egotrip. / Born out of the Literature and the debates maintained about itself, nevertheless the French rap revives its essential functions ; indeed, due to their participation in the most stubborn scriptural as in the most lively orality, the rappers remind us, by making offering of their voice so to speak, that the poetic writing always consists of an intensive use of the language which, beyond any communicational reach, persists in making spring from words all their prodigious musicality, pictoriality, materiality, and much more. Not "to write well", because this is nothing, but to make the tongue be delirious, in order to return to the essential emotion, to the power and to the pleasure which it brings. Obviously, the rappers say nothing else but what already said Céline, Artaud, to name but a few, about the breathing capacities undoubtedly buried in this official language which undoubtedly will have to be shaken by all the loving, cruel spasms. In a first genesic chapter, we shall tear the French rap that is our corpus, away from the world culture of the hip-hop in order to recognize it the right to particularism, to the very French atavism. We shall see then through the “small invention” of the flow (the expression belongs to Céline), how the rappers reveal this fragile third place between written and orality, the dumb paper (is-it ever, really?) and the throat. This third place is also the one of the strictly suburbanite outskirts which is celebrated over and over again by the rappers. We shall see here how the rappers, rejected to the borders, and thus leaving from a situation of blatant strangeness, knew how to do with this undergone minority a real esthetic of the periphery, but more than that, the privileged angle to proceed to an intensive use of the normative language. To make be delirious the language has a price, which is to be delirious with, and from this experimentation of future evolutions crossing then this poetic writing, which engages even the body of the writer. Thus our last axis of study will be dedicated to this big question of the writing subject in literature to which the rappers seem to have brought a convincing answer and even an usual term, the egotrip.

A presente pesquisa propõe uma articulação entre as letras de RAP e a linguagem poética como possibilidade de ensino de leitura no Ensino Médio. A pesquisa foi motivada ao constatar, durante a prática docente, o desinteresse da linguagem poética pelos educandos do Ensino Médio de algumas escolas públicas estaduais. Ao se perceber a necessidade de trabalhar a linguagem poética de maneira atrativa dentro da sala de aula, a pergunta de pesquisa surge: É possível uma articulação entre o RAP e a linguagem poética? Na tentativa de solucionar tal pergunta, esta pesquisa tem como objetivo apresentar, por intermédio da leitura fruitiva, uma proposta de ensino de leitura. Para cumprir esse projeto utilizamos as letras das canções `Cálice, de Chico Buarque e Criolo e o poema `José, de Drummond no intuito de aproximar os alunos de linguagens diferenciadas, partindo da mais comum que é a do RAP para levá-los a textos mais elaborados da literatura. Como fundamentação teórica, utilizam-se os estudos de Mikhail Bakhtin e do Círculo, que servem de arcabouço teórico, visando a importância das relações dialógicas no processo de ensino/aprendizagem. A realização da análise possibilitou verificar a presença das diferentes vozes que permeiam o processo discursivo, observando-se principalmente o dialogismo, a interdiscursividade e a intertextualidade, os efeitos de sentido e as marcas da ideologia para a assimilação do texto poético como materialidade sócio-histórica e cultural. A conclusão apresenta uma discussão do resultado das análises desenvolvidas na pesquisa, demonstrando o enriquecimento decorrente da relação dialógica mantida entre os gêneros e da possibilidade de ampliar o horizonte cultural dos alunos, tornando efetiva a formação de leitores críticos e responsivos. / This current research proposes an articulation between RAP lyrics and the poetic language as means of reading lectures in secondary education. The motivation for this research came during faculty practice when observed the indifference that the student body had at certain public secondary schools towards the subject. While realizing the necessity of dealing with the poetic language in a more attractive way, the question for this research emerged: Is it possible to articulate RAP and poetic language? In the attempt to answer such question, the target of this research is to present a proposal for reading lectures through mediation of pleasant reading to the students. In order to perform this project, we utilize the lyrics of the songs `Cálice from Chico Buarque and Criolo and the poem `José from Drummond. As an attempt to bring the students closer to more distinguished language stiles, we start from the most common, which is RAP, to take them to more elaborate readings. As foundation for this thesis, studies from Mikhail Bakhtin and from Criolo are used. They serve as theoretical structures aiming for the importance of dialogical relationships in the teaching/learning process. Through the achievement of the analysis, it was possible to verify the presence of different voices that permeate the speech process, specially observing the dialogical, interdiscoursive and intertextual aspects, the meaning effects, and the ideological signs in order to assimilate the poetic text as a social-historical and cultural materialization. The conclusion presents a discussion of the analyses results that were developed in this research that demonstrate the enrichment of the dialogical relationships maintained between the genres and the possibility to magnify the students cultural horizons making the formation of critic and responsive readers become real.

Contrastive Study of the Lexicon of the French and the Quebec rap: songs of rappers Nekfeu and Koriass The thesis is concerned with the comparison of the lexicon of French in France and the Quebec French studied on lyrics of songs of the French rapper Nekfeu and the Quebec rapper Koriass. The theoretic part of the thesis attempts to outline the synthesis of lexicological findings which enable us to define the particularities and the differences of both variants. The aim of the practical part is to conduct an analysis of the lyrics of songs of both rappers and to compare the use of particular lexical expressions. These expressions are subsequently examined in referential but also in unconventional, French and Quebec dictionaries. The aim of the study is to conduct a lexical analysis of texts of the corpus and to compare the use of the lexicon between the official French language and its Quebec variant. KEYWORDS Lexicology, French, Quebec French, Rap, Diatopy

In this essay, I am analyzing hip hop lyrics from Immortal Technique. The main focus is to connect the context of the lyrics to postcolonial theory. The theory paramount to the analysis has been Gayatri Chakravorty Spivak’s essay Can the Subaltern Speak? My work aims to provide evidence that Immortal Technique’s rap lyrics contextualize colonial, economic and racist structures of power in a manner that has equal merit as intellectual postcolonial theorizing, and we should therefore ask the question of whether or not including street poetry and rap lyrics in the postcolonial discourse can help solve the problem of representation? The essay’s focus is three formulated key concepts centered around power, ideology and the view of women.

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