As the most recent manifestation of youth culture, hip hop culture, including rap music, has attracted attention from scholars in a broad range of fields. Most of this work, however, has originated from the English-speaking world, and focuses primarily on cultural aspects. Very little analysis of rap music texts has been performed by scholars of German literature; Severin Peters’ Romantische Lyrik und Rap-Texte als Ausdruck „progressiver Universalpoesie” (F. Schlegel) – Ein Vergleich is one of the few exceptions. Peters claims that this apparent neglect results from a lack of knowledge in the field. This thesis attempts to fill that gap. The first part of the thesis presents a brief history of the development of German rap music in three major phases: in the first (1983-1992), German rappers had to adapt the US style to different local circumstances to achieve the attempted authenticity. In the second phase (1992-2000), artists and fans formed a collective identity by exchanging knowledge at “jams,” often staged at local youth centres. This travelling among different local scenes led to the beginnings of a nation-wide German rap scene. In the third phase (2000 to the present), increasing commercialisation has helped hip hop culture and rap music become more widespread. Rather than retaining a simple collective identity, however, individual artists have become more important, and the scene is highly differentiated both regionally and in terms of commercial vs. political orientations. The development of rap music in Germany can be compared to the development from modernist to postmodernist culture: from avant-garde artists who began rapping in German and led the way for a collective youth culture, to the differentiated and more individualistic aspects of art in postmodernity and contemporary rap in Germany. The second part of the thesis presents a methodology for interpreting German rap music, based on Horst Frank’s traditional lyrical analysis. Aspects of German rap that need to be considered in such an analysis are pointed out, using examples from the rap song “Da läuft was schief” (Blumentopf). On the basis of this methodology, three contemporary German rap texts are analyzed in the third part of the thesis. The artists selected vary in style, approach and renown, to offer a representative assortment in the limited framework of the thesis. The analysis of “Rechte Dritter” (Eins Zwo) discusses the use of quotations by both DJ and rapper in order to demonstrate some of the aesthetic possibilities of rap music. “Viele Bars Parkbankblues” (Purkwa) deals with individualistic problems within the context of a pre-determined life. “3 Minuten” (Prinz Pi) uses media-images that describe youth and forms them into a critique of both media and contemporary society. All three texts vary in style as well as in content. The thesis concludes by pointing out the possibilities for German scholars to interpret contemporary German rap music. Rap is an art form with more than twenty years of history, and it deals with the problems of contemporary society. Since its texts can also be analysed in the same manner as a poem, the aesthetic qualities of the art form are obvious. This thesis aims to provide methods to analyse rap in order to point out both its importance and its potential for further studies.

Reproduction de : Thèse doctorat : Anglais : Metz : 2004. / Titre provenant de l'écran-titre. Notes bibliographiques.

Rapping has long been used by people who are from the margin of society as a way to give a voice (Campbell, 2005; Ibrahim, 1999). As a member of the marginalized group and as the first and only Asian who claimed a seven-time victory on Freestyle Friday on Black Entertainment Television (BET), Jin Au-Yeung has received a noticeable amount of attention. At the same time, he has faced a lot of unfavourable experience as an Asian rapper in American society. This study employs Fairclough’s (1989) model of CDA approach to find out how Jin constructs his identity and establishes his ideology through his lyrics, and how his construction of identity and establishment of ideology reflect the social practice in American society. Fifteen songs written by Jin were chosen for the analysis according to the three interrelated stages in CDA: description, interpretation and explanation. Results show that Jin constructs his personal identities as a professional rapper and as a Chinese American and establishes his ideology of having one human nation despite the difference in races through his rap lyrics. These are achieved through the co-occurrence of “I” and “to be”, and promoted through the use of rhyming and code-switching. It was also interpreted that Jin’s personal identities and ideology are shaped through the social ideology on Asian Americans, which is probably reflected through the social practice in American society. / published_or_final_version / Applied English Studies / Master / Master of Arts in Applied Linguistics

As the most recent manifestation of youth culture, hip hop culture, including rap music, has attracted attention from scholars in a broad range of fields. Most of this work, however, has originated from the English-speaking world, and focuses primarily on cultural aspects. Very little analysis of rap music texts has been performed by scholars of German literature; Severin Peters’ Romantische Lyrik und Rap-Texte als Ausdruck „progressiver Universalpoesie” (F. Schlegel) – Ein Vergleich is one of the few exceptions. Peters claims that this apparent neglect results from a lack of knowledge in the field. This thesis attempts to fill that gap. The first part of the thesis presents a brief history of the development of German rap music in three major phases: in the first (1983-1992), German rappers had to adapt the US style to different local circumstances to achieve the attempted authenticity. In the second phase (1992-2000), artists and fans formed a collective identity by exchanging knowledge at “jams,” often staged at local youth centres. This travelling among different local scenes led to the beginnings of a nation-wide German rap scene. In the third phase (2000 to the present), increasing commercialisation has helped hip hop culture and rap music become more widespread. Rather than retaining a simple collective identity, however, individual artists have become more important, and the scene is highly differentiated both regionally and in terms of commercial vs. political orientations. The development of rap music in Germany can be compared to the development from modernist to postmodernist culture: from avant-garde artists who began rapping in German and led the way for a collective youth culture, to the differentiated and more individualistic aspects of art in postmodernity and contemporary rap in Germany. The second part of the thesis presents a methodology for interpreting German rap music, based on Horst Frank’s traditional lyrical analysis. Aspects of German rap that need to be considered in such an analysis are pointed out, using examples from the rap song “Da läuft was schief” (Blumentopf). On the basis of this methodology, three contemporary German rap texts are analyzed in the third part of the thesis. The artists selected vary in style, approach and renown, to offer a representative assortment in the limited framework of the thesis. The analysis of “Rechte Dritter” (Eins Zwo) discusses the use of quotations by both DJ and rapper in order to demonstrate some of the aesthetic possibilities of rap music. “Viele Bars Parkbankblues” (Purkwa) deals with individualistic problems within the context of a pre-determined life. “3 Minuten” (Prinz Pi) uses media-images that describe youth and forms them into a critique of both media and contemporary society. All three texts vary in style as well as in content. The thesis concludes by pointing out the possibilities for German scholars to interpret contemporary German rap music. Rap is an art form with more than twenty years of history, and it deals with the problems of contemporary society. Since its texts can also be analysed in the same manner as a poem, the aesthetic qualities of the art form are obvious. This thesis aims to provide methods to analyse rap in order to point out both its importance and its potential for further studies.

Thesis (Ph. D.)--University of California, Davis, 2001. / eContent provider-neutral record in process. Description based on print version record. Includes bibliography (p. 169-176) and discography (p. 176).

Stuttgart, Univ., Diss., 2008.

Thèse de doctorat de troisième cycle--Université Cheikh Anta Diop de Dakar, 2004. / Cover title. Includes bibliographical references.

Seminario para optar al grado de Magister en Comunicación Social / El autor no autoriza el acceso a texto completo de su documento / ¿Qué es el hip hop? ¿Una tendencia musical, el rap? ¿Una gráfica que comprende murales, graffitis y firmas (tags)? ¿Una danza, el break dance? ¿Una moda? No es tan simple. Este múltiple canal de expresión al que adscriben cada vez más jóvenes chilenos presenta características propias que complejizan esta primera definición. Al estudiarlo pretendemos develar los elementos ideológicos presentes en él, sus alcances sociales, sus significados psicológicos, su ethos. Este trabajo es entonces un estudio descriptivo que aborda la producción de sujetos, identidades y circuitos sociales en el movimiento cultural llamado hip hop. En primera instancia, abordaremos las caracterizaciones del hip hop en el contexto de la cultura global imperante. Es decir, cuáles son sus propiedades dentro de la industria cultural y como funciona su especificidad en tanto fenómeno cultural en un contexto global en América Latina. En este sentido será necesario explorar la cosmovisión que opera en su textualidad, qué ideologías se hallan presentes en su estructura de funcionamiento, volcadas a la cotidianidad, en las áreas de producción, distribución y consumo. Dado que el hip hop en su origen aparece como un movimiento underground, que dispara desde los márgenes del sistema, y que como expresión cultural tiene su raíz primera en los getthos neoyorquinos; cabe entonces ver qué elementos de este hip hop originario se hallan presentes en el modo en que se da en nuestro territorio. Una vez establecidas sus características, deberemos analizar los mecanismos de identificación que genera en los jóvenes chilenos. Es decir, profundizar en la resignificación identitaria de que es objeto el fenómeno al insertarse en nuestra especificidad histórica, social y cultural. Por qué es que los jóvenes chilenos hallan en el hip hop un lugar donde “ser ellos”, y “cómo es que lo son”. Cómo es que la especificidad estética del hip hop juega un rol preponderante en el acercamiento del joven que busca su identidad, a una cosmovisión. En un mundo donde la preponderancia de lo cotidiano crece en detrimento de los grandes relatos, la conformación de una identidad propia vuelve la vista a los subgrupos. La realización del sujeto se da en la comunidad inmediata, que comparte la cotidianidad del sentido común y una determinada forma de producción cultural. Ahora bien, la cultura como universo simbólico nos remite a un imaginario del individuo en un proceso de constante flujo textual, en un permanente reenvío de significados (semas). Así, la semiótica y el psicoanálisis nos proveerán las herramientas científicas para analizar las distintas manifestaciones artísticas del sujeto, y cómo opera a nivel de conciencia e identidad los entrecruzamientos de lo imaginario y lo simbólico. Si se mira bien, a poco andar parece existir una tensión basamental. El hip hop nace de la marginalidad, es una reacción subversiva encarnada en el ícono de la pandilla, del que vive en gethos. El hip hop al llegar a nuestro país, y al poco a poco desmenuzar el cómo se va consumiendo, distribuyendo y produciendo, incorporándose al modus vivendis del joven chileno, cambia su marginalidad esencial. Es un fenómeno de masas marginal. Esta paradoja crece cuando el adscribir al hip hop es un gesto entendido como rebelde, aún asumiendo que el hip hop en sí no lo sea. Dicho de otro modo: en sus principios (valóricos y temporales) el hip hop es subversivo, “es” desde la ilegalidad, pero llegado a nuestro país, esta subversividad se trastoca en múltiples y contradictorias formas. Nuestra labor es establecer la dirección de estas mutaciones, y comprobar entonces cuál es el efecto real del hip hop en la juventud chilena: porqué adscriben a él, qué elementos presenta, dónde radica su fortaleza pulsional. Con ello no sólo se satisface un legítimo interrogante meramente intelectual, académico: conocer qué contenidos transmiten y cómo operan los dispositivos utilizados por la juventud chilena; si no que se pretende explotar -en el sentido de agotar- la ideología que subsume toda la cultura actual en el marco del mundo globalizado, denunciando así, su caducidad en términos de forma y contenido.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2017. / Made available in DSpace on 2017-10-31T03:16:49Z (GMT). No. of bitstreams: 1 348941.pdf: 1748922 bytes, checksum: 6f68d443a28e222c944482b22d1b3ada (MD5) Previous issue date: 2017 / O presente trabalho consiste em uma análise da performance do grupo de rap Racionais MC`s e a partir da poética do grupo, traz questões sociais que envolvem o rap de maneira geral, como a escravidão, a criminalização da pobreza, as relações entre o Estado e os sujeitos de periferia, as implicações religiosas que envolvem o rap e as intersecções entre as leis humanas e as leis divinas. Além disso, esse trabalho analisa a ética e a conduta da comunidade "vida loka", conformada pelos manos e manas que sobrevivem nas periferias brasileiras e que, através do rap, reconfiguram as relações sociais e comunitárias. A análise é feita a partir dos vídeos de performances ao vivo do grupo em questão, tratando da poesia a partir também de suas características do gesto, do corpo e do acontecimento imprevisível.<br> / Abstract : The current work consists in an analysis of the performance of the rap group Racionais MC`s and the poetics of the group, brings social issues that involve rap in general, such as slavery, the criminalization of poverty, relations between the State and the subjects of periphery, the religious implications involving rap and the intersections between human laws and divine laws. In addition, this work analyzes the ethics and conduct of the "thug life" community, conformed by the manos and manas that survive in the Brazilian peripheries and, through rap, reconfigure social and community relations. The analysis is made from videos of the live performances of the group in question, dealing with poetry also from its characteristics of gesture, body and unpredictable event.

This study examined the mediating effect of hostility towards women on the relationship between exposure to misogynistic rap music and acceptance of violence towards women. Additionally, the impact of male hostility towards women on the relationship between consuming rap music and acceptance of rape myths and general attitudes towards violence were also examined. Participants for this study were 87 high and low-hostile college males between the ages of 18 and 25, who were randomly assigned to one of three exposure conditions (sexually-violent/degrading condition, generally violent condition and a non-violent/ control condition). Results indicated that men exposed to misogynistic rap music endorsed significantly greater acceptance of violence towards women than those in the non-violent/control condition did. Also, men with a high level of hostility towards women endorsed significantly greater acceptance of violence towards women, a significantly greater acceptance of rape myths and endorsed significantly more positive attitudes towards violence than low hostile men. Although no interaction effects were found between music condition and hostility level, this study provides empirical evidence of the potential deleterious influence of exposure to misogynistic rap music lyrics on men's acceptance of violence towards women. / Ph. D.