Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-29T12:26:41Z No. of bitstreams: 1 Priscilla Prado de Faria.pdf: 3267902 bytes, checksum: 3cbabfa3f1be57255331ce0a4e0a33ef (MD5) / Made available in DSpace on 2017-03-29T12:26:41Z (GMT). No. of bitstreams: 1 Priscilla Prado de Faria.pdf: 3267902 bytes, checksum: 3cbabfa3f1be57255331ce0a4e0a33ef (MD5) Previous issue date: 2017-03-20 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Fundação São Paulo - FUNDASP / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aimed to clarify how throughout the 1990s the Racionais Mc's group intertwined fun and social responsibility within the formation of Rap's own musical style and especially, how through art they established bonds with education, producing knowledge and propagating it through the places that they used to enter. Using what we dare to call here black performance and dialoguing spontaneously with the thoughts of Paulo Freire, they became a pedagogical tool in some schools in the city of São Paulo in 1992 / Esta pesquisa pretendeu esclarecer como ao longo dos anos de 1990 o grupo Racionais Mc’s entrelaçou diversão e responsabilidade social dentro da formação do próprio estilo musical Rap e principalmente, como por meio da arte estabeleceram laços com a educação, produzindo conhecimento e propagando-o pelos locais que adentravam. Utilizando-se do que ousamos chamar aqui de performance negra e dialogando espontaneamente com os pensamentos de Paulo Freire, acabaram por se tornar ferramenta pedagógica em algumas escolas do município de São Paulo no ano de 1992

This study deals with the interplay of music and text in contemporary Durban rap. It / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.

The present work has as object of investigation the understanding of rap songs as voco-hybrid musical expressions in the Northeast, bring the dialogue between the African-American oral sources and the Northeast. The result of this meeting is built by the analyses of the eighteen songs from Northeastern, and included groups from the design of the poet zumthoriana voice. The identity mapping of MC/a listener of rap has made it possible to deepen looks that were conducted by hybridization, performance considerations, and utopia and, in turn, subsidized a broad approach on textual complexity of rap songs. / Fundação de Amparo a Pesquisa do Estado de Alagoas / O presente trabalho tem por objeto de investigação a compreensão das canções de rap como expressões voco-musicais híbridas que, no nordeste, trazem o diálogo entre as fontes orais afro-americanas e a cantoria nordestina. O resultado deste encontro é construído pelas análises das dezoito canções, oriundas de grupos nordestinos, e compreendidas a partir da concepção de poeta da voz zumthoriana. O mapeamento identitário do/a MC e do/a ouvinte de rap tornou possível aprofundar olhares que foram conduzidos pelas considerações sobre hibridação, performance e utopia e, por sua vez, subsidiaram uma abordagem ampla sobre a complexidade textual das canções de rap.

This thesis examines the use of non-standard language, more specifically non-standard vocabulary (i.e. slang, verlan, colloquialisms, vulgarities, foreign borrowings, and abbreviations), in a corpus of selected francophone rap tracks in order both to quantify its use and to investigate what determines its variation, focusing on the impact of diachronic, diatopic, gender and diaphasic determinants. The methodology relies on a lexicographic analysis to produce quantitative results which are then analysed qualitatively by means of extract analyses and semi-structured interviews with francophone rappers. To answer the research questions, the thesis is divided into five chapters. The first chapter presents the aforementioned methodology and the overall quantitative results from the thesis, while also introducing the notion of variation, which is then tackled in the last four chapters. The second chapter investigates diachronic determinants from two perspectives: different generations of rappers (1990/1991, 2001 and 2011) and one artist throughout his career (Akhenaton in 1991, 2011 and 2011). The third chapter looks at diatopic determinants, analysing the impact of ethnic and spatial origins. Three ethnic origins are compared (rappers of French, Algerian and Senegalese origin), together with three cities (Marseille, Paris and Brussels) and three departments (Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne). The fourth chapter focuses on gender determinants, with a comparison of male versus female rappers that also takes broader gender performativity into account. Finally, the fifth chapter examines the impact of diaphasic determinants. It analyses three rap genres (jazz/poetic, ego trip and knowledge rap), which then form the foundation for qualitative discussions of the effect of aesthetics, figures of speech, themes and performance. In conclusion, the contribution to knowledge of this work is the observation that the main determinant of high use of non-standard vocabulary is the performance of modern ego trip. The other determinants do not impact non-standard vocabulary to the same extent quantitatively or systematically, due to the complexity of the contextual and fluid identity performances involved with these determinants.

Just nu pågår det en debatt i media kring rapkulturen och dess omtalade koppling till kriminalitet. Rapartister ses ofta som influerare till gängkriminella kretsar på grund av deras låttexter som ofta handlar om mörker, knark och brott. Media rapporterar flitigt om rapparnas relation till kriminalitet i artiklar som bland annat kan handla om skjutningar och sprängningar. I ljuset av den ständiga debatten som pågår kring rapkulturen, undersöker denna studie hur rapkulturen som fenomen representeras i media.   Studiens teoretiska perspektiv är: gestaltningsteorin, representationsteorin, stereotyper i media, diskursteori: makt och ideologi, samt hiphop som populärkultur och subkultur. Den tidigare forskningen i studien handlar om rapkulturens mediehistoria, att musikgenren anses vara en samhällsfara, medias roll i samhället, representationen av människor samt journalisternas gestaltningar som agerar bidragande faktorer.   Studien har genomförts med hjälp av en kritisk diskursanalys där totalt 14 artiklar valts ut. Sju från Sveriges största kvällstidning, Aftonbladet, och sju från Sveriges största morgontidning, Dagens Nyheter.  Slutsatsen som kunde dras var att svensk journalistik tenderar att rama in rapkulturen på ett stereotypiskt sätt. Rapparna framställs som kriminella och en grupp utanför samhället. Diskurser som förekom förr i tiden tycks även leva kvar och bilden som människor hade om rapkulturen under 80-talet präglar fortfarande samhället (Rutherford, 2001). Diskurserna vi syftar på är framförallt kriminalitet, lojalitet, hämnd, samhällsproblem, utanförskap/förtryck samt stereotyper. Slutligen fann vi att Aftonbladet och Dagens Nyheter både befäster och stärker kopplingen mellan rapkulturen och kriminalitet. För att exemplifiera, skrev Dagens Nyheter följande i en artikel “Jag tror att hans namn blivit ett som många förknippar med våld och kriminalitet” (Admund Funck, 2023), med namn syftar de på rapartisten Yasin. Det fanns inget ur det empiriska materialet som visade på att de motverkade den relationen.  Den svenska forskningen inom det valda ämnesområdet är hyfsat begränsad och inom snar framtid önskar vi att fler kommer fördjupa sig och forska vidare om rapkulturen. Några önskemål från vår sida hade varit att undersöka hur rapartisterna själva uppfattar medias rapportering av dem, samt om det finns några likheter eller skillnader på hur kommersiella- kontra icke-kommersiella medier framställer rapkulturen. / There is currently a debate in the media about rap culture and its alleged link to crime. Rap artists are often seen as influencing gang criminal circles because of their lyrics, which are often about darkness, drugs and crime. The media report extensively on rappers' relationship with crime in articles that can include shootings and explosions. In light of the ongoing debate about rap culture and its practitioners, this study examines how rap culture as a phenomenon is represented in the media.   The study's theoretical perspectives are: framing theory, representation theory, stereotypes in the media, discourse theory: power and ideology, and hip hop as popular culture and subculture. The previous research in the study deals with the media history of rap culture, the fact that the music genre is considered a danger to society, the role of the media in society, the representation of people and the journalists' portrayals that act as contributing factors.   The study was conducted using a critical discourse analysis where a total of 14 articles were selected, seven from Sweden's largest evening newspaper Aftonbladet and seven from Sweden's largest morning newspaper Dagens Nyheter.  The conclusion that could be drawn was that Swedish journalism tends to frame the rap culture in a stereotypical way. Rappers are portrayed as criminals as a group outside society. Discourses that existed in the past also seem to live on and the image that people had of the rap culture during the 1980s still characterizes society (Rutherford, 2001). The discourses we are referring to are mainly crime, loyalty, revenge, social problems, exclusion/oppression and stereotypes. Finally, we found that Aftonbladet and Dagens Nyheter both confirm and strengthen the link between rap culture and crime. As an example, Dagens Nyheter wrote the following in an article "I think his name has become one that many people associate with violence and crime" (Admund Funck, 2023), by name they mean the rap artist Yasin. There was nothing in the empirical material that showed that they countered that relationship.  The Swedish research in the chosen subject area is fairly limited and in the near future we hope that more people will immerse themselves in and research the rap culture further. Some wishes from our side would have been to investigate how the rap artists themselves perceive the media's reporting of them, and whether there are any similarities or differences in how commercial versus non-commercial media portrays the rap culture.

Thesis advisor: Juliet Schor / There is an emerging pairing between the grassroot hip hop movement and urban sustainability initiatives that I call hip hop ecology. The synergy between hip hop and environmentalism defies stereotypes of the whiteness of the environmental movement and the forms of discourse that are used to raise awareness of the ecological crisis. This dissertation builds from my work in the Boston Public Schools, where for four years, I have taught environmental science using environmentally-themed (green) hip hop. In these classes I have asked students to express their learning in their own creative verse. I present three studies that situate the connection between hip hop and environmentalism in social and educational contexts. The first is a comparative content analysis of environmental science textbooks and green hip hop tracks that will help define the sociotextual scene of the urban environmental classrooms where I worked. The second research site is the community, where I interviewed "hip hop ecologists," activists and emcees who work directly on urban sustainability and environmental justice while producing hip hop with green themes. The second study provides an in-depth look at how these young environmental activists of color navigate the racial dynamics of the movement and try to sustain their careers as leaders and artists. The third study is an ethnography where I synthesize four years of classroom teaching and analyze the various cases where constructs of race and nature intersected, deconstructing both the social interactions in the classroom as well as the green hip hop lyrics written by the students. The implications of a hip hop ecology are that we as environmental practitioners actively rethink what counts as an environmental text and what part of our own creativity we tap as educators who endeavor to promote a more racially diverse and powerful movement for sustainability. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Sociology.

This study aims to understand intermingling process between rejuvenators and aged asphalt binders in reclaimed asphalt pavement (RAP) materials during RAP recycling operations in pavement construction. This study presents results of a laboratory study on the use of rejuvenators to recycle age hardened asphalt binders in RAP. Laboratory Hot Mix Asphalt (HMA) samples were prepared with RAP millings from one specific pavement and a commercial rejuvenator, with 80 to 90 percent RAP content. The following mixes with various amount of the rejuvenator were evaluated: a control mix prepared from burned RAP aggregate and virgin asphalt binder, another control mix prepared with heated RAP, a recycled RAP mix with 1% rejuvenator (at the weight of the total mix), a recycled RAP mix with 0.5% rejuvenator, and a recycled RAP mix with 0.5% rejuvenator and 0.5% virgin asphalt binder. Dynamic modulus test results of laboratory prepared samples were obtained for a range of temperatures over an eleven-week period of accelerated aging at 60ºC in an inert gas oven and a conventional convection oven. Accelerated aging protocol was used to evaluate the intermingling process associated with diffusion mechanism between the rejuvenator and aged asphalt binder while an argon inert gas oven provides an environment where oxidation-related ageing and hardening in rejuvenated asphalt binders can be eliminated. The dynamic modulus data of six distinct mixes were statistically analyzed and compared to the results reported in the literature for virgin and low percentage recycled mixes. Collected data suggest that the use of rejuvenator is a viable option for recycling HMA with high RAP material content.

Objetivo dessa tese é trazer uma visão ampla do Hip Hop. Diferentemente do que se têm afirmado em outras pesquisas, no nosso caso interessa tomar o movimento como conjunto, a fim de entender de que maneira, de um lado, existem diversas formas de compreender esse fenômeno e, de outro, como a dicotomia entre política e cultura torna-se central num debate. Antes de reiterar a polaridade nossa meta é mostrar como esses conceitos dialogam, e de uma forma e a um só tempo, tensa e ambígua. Para tanto analisamos o Hip Hop paulistano, sobretudo, a partir da visão de três posses e do gangsta rap. Nesses locais e nesse estilo musical, política e cultura funcionam como verdadeira moeda de troca.

How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. I was also able to document the inconsistencies, problems and negotiations that the members of these entities encountered as they attempted to become successful musicians in the current global economic environment. This dissertation offers explicit details of how the rap musicians in the polities under study, were able to utilize their social networks in the process of commodifying their products for distribution in the hip-hop market place. I also tackle current academic discussions about how the rappers use digital technologies to assist them with this process. Engaging with concepts from economic anthropology, social mobility literature, political economy and globalization studies, the findings here demonstrate various entrepreneurial strategies utilized by rap musicians in this location.

I dagens samhälle känner allt fler unga ett utanförskap och hiphopen har blivit ett viktigt medel för att illustrera detta utanförskap. Syftet med uppsatsen är att belysa hur en motståndskultur kan komma till uttryck via musik. En textanalys på gangsterrappgruppen Kartellens låttexter har utförts för att klarlägga vilken motståndskultur gruppen uttrycker i texterna, samt vilka centrala aspekter denna kultur innehåller. För att besvara studiens frågeställningar har Howard S Beckers teori om avvikande och R W Connells teori om maskulinitet använts. I rapporten har även tidigare forskning kring gatukultur, hiphop och utanförskap behandlats. De centrala aspekterna i resultatet rör gatukultur, maskulinitet, utanförskap och de fiender som gruppen anser sig ha. Det finns påtagliga kopplingar mellan dessa teman och hur de påverkar varandra. Ett av de tydligaste budskapen Kartellen förmedlar i sina texter rör den politik som förs i Sverige och gruppens polisförakt. De har både blivit hyllade och kritiserade i media för sina låttexter som ofta innehåller grova våldsskildringar men som samtidigt belyser segregation och utanförskap.