As a result of the groundbreaking success of his debut film Boyz N the Hood (1991), filmmaker John Singleton gained worldwide acclaim, the respect of major film industry figures and became the topic of both scholarly and popular culture film conversations. He also made history, becoming the youngest and the first African-American to be nominated for the Academy Award for excellence in directing. However, the lukewarm critical reception for his sophomore release Poetic Justice (1993) countered the promise many felt he had shown earlier and initiated a lack of interest in Singleton’s subsequent films, rendering him almost obsolete from any future cinematic analysis. This dissertation seeks to resurrect the discussion of John Singleton as a substantial contributor to the world of cinema by bringing attention to the voice that he has given young African-American men and women in the works that comprise what he calls his “hood trilogy,” which includes the aforementioned films and Baby Boy (2001). Specifically, the dissertation addresses this topic by examining how Singleton’s own discussion of black masculinity via film is an extension of the same conversation about maleness began by writers Richard Wright and Ralph Ellison, how the South Central Los Angeles environment has had a tremendous effect on the behaviors and attitudes of the young people that populate the area, the influence of hip hop culture on gender dynamics, and the strain often placed on black male/female relationships in urban settings. The methodological approach of the dissertation combines film, literature, music, and cultural and sociological studies in the effort to locate Singleton and these films as meaningful components in the investigation of film, popular culture and African-American history and culture. In analyzing these films that, as a result of their subject matter and setting, find the filmmaker at his most assured both narratively and cinematically, the intent of the dissertation is to confirm the potential that Singleton revealed in his debut and also bring awareness to the significant effect his work has on African-American youth culture at large. / text

With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

Outside Looking In (OLI) is a youth development through recreation program for Aboriginal peoples in Canada. Through the analysis of semi-structured interviews, fieldnotes, and archival documents, in this thesis I examine OLI staff and Board members’ description of OLI’s creation and implementation processes. This thesis is written in the stand alone format and is comprised of two papers. The first paper shows that OLI staff and Board members describe OLI’s creation and implementation as relatively predetermined. At the same time, however, OLI incorporates collaborative approaches to various aspects of program design. While OLI facilitates collaborative processes that can contribute to Aboriginal self-determination, Eurocentric influences and broader colonial forces make efforts to achieve Aboriginal self-determination challenging. The second paper illustrates that OLI’s approach to Aboriginal youth development through recreation creates a hybrid third space that challenges colonial discourses. Together, this thesis not only describes the creation and implementation processes of a youth development through recreation program for Aboriginal peoples, but also how the tensions associated with Aboriginal self-determination and colonial relations of power can permeate such programs.

This thesis represents the first ever study of Sri Lanka’s leading genre of contemporary popular song covering a period of over twelve years, and how its artists and principal audience interpolate ‘global’ and ‘local’ (linguistic and musical) elements in their invention and negotiation of the genre. The central objective is to articulate the collective linguistic identity of the genre’s artists and principal audience. They are shown to constitute a community of over 5.5 million youth and young adults of Sinhala ethnicity, more than a quarter of the country’s population. Notably, this is also the first ever study of macrosocietal linguistic identity in a musical context involving an interdisciplinary linguistic and musical-structure based approach. Underlying the central objective the thesis addresses broader questions about whether our perception of and response to language/language-mixing in music differs from our perception of and response to language mixing (language) in non-musical (i.e. conversational) contexts and if so, how such differences might be explained in terms of linguistic and/or musico-linguistic structure. The genre explored is termed ‘Post 1998 Leading Sri Lankan Popular Song’ (98+LSLPS): 1998 marks the symbolic year in which the first songs of the genre emerged and became hugely popular in Sri Lanka. At present, it includes around 300 songs. A community of practice model (Wenger 1998) is used to describe the three-way relationship between the artists, audience and songs. The song data analysed are in audio format. Musically, the songs are heterogeneous involving blends of styles, ranging from indigenous Sri Lankan folk tunes to hip hop rhythms to western classical melodies. These are delivered through four presentational techniques among which rap and singing are dominant. It is English and Sinhala mixed language lyrics which distinguish the songs as a genre. Not surprisingly, there is evidence that the community regard the songs as ‘mixed’: however, they are also found to regard the songs as simultaneously ‘not-mixed’. The portrait corresponds to the community’s identification of the songs as simultaneously homogeneous Sinhala and Sinhala-Sri Lankan systems on the one hand and heterogeneous multicultural systems on the other. Exploring the salience of this portrait at the level of the songs’ lyric organisation constitutes the major part of the thesis and is a crucial forerunner to articulating the collective linguistic identity of the community, which is based on interpreting the findings. Accordingly, I advance a novel musico-linguistic analytical framework based on the notion of the musical rhythm derived ‘line’ for analysing the songs. The framework is also a response to the fact that the song lyrics are in audio format rather than being assigned a predetermined structure by transcription. The analyses demonstrate that the songs’ lyric structure is entirely congruent with the portrait assigned to the songs by their community. Interpreted in relation to the community’s collective linguistic identity, it is described as representing a form of overarching monolingualism, deriving from active multilingualism in music. Drawing on the relationship between Sinhala ethnicity and the Sinhala language and the fact that the community members are of Sinhala ethnicity, the study concludes by suggesting that this linguistic profile may be indicative of the community’s definition of the ‘Sinhala’ language in this musical domain. Overall, the study establishes that musical structure governs the organisation of language/language mixing in music and that this is reflected in how communities perceive language/language mixing in music.

This bachelor thesis examine how the early hip-hop music mirrors the society in the US ghettos in the 80s and 90s in order to explore how the artists' individual experiences take the expression in artistic form of coherent discourse on public issues. It uses structural textual analysis thatencode and analyze lyrics from ten hip-hop songs. The material was studied with the help of Elias and Scotsons theories established and outsiders, Bourdieu's capital types, field and habitus, and postcolonial theory that Eriksson, Eriksson Baaz and Thorn highlights in there book GlobaliseringensKulturer. The survey shows that the songs we analyzed tells of similar problems, which we divided into five themes: crime, poverty, ideals, discrimination and depression. In this way, we concluded that there are common patterns in the songs we chose. In conclusion, the study shows that the analyzed songs express the artists’, both individual problems such as depression, poverty, criminality in an artistic form. But also other issues such as discrimination and racism in a larger level. / Den här studien undersöker hur tidig hiphop speglar samhället i USAs förorter på 80- och 90 talet i syfte att utforska hur artisternas individuella upplevelser tar sig utryck i konstnärlig form i sammanhängande diskurser om allmänna samhällsproblem.    Metoden består utav strukturalistisk textanalys, där texter från hiphopmusik kodas och analyseras. Teorier som använts består utav Elias och Scotsons teorier kring etablerade och outsiders, Bourdieus kapital typer, fält och habitus samt postkolonial teori som Eriksson, Eriksson Baaz och Thörn behandlar i Globaliseringens Kulturer. Undersökningen visar att artisterna berättar om liknade problem och teman i sina låtar som beskrivs efter: kriminalitet, fattigdom, ideal, diskriminering och depression. Slutsatserna som studien drar består av hur låttexterna blir utryck i konstnärlig from sådant som artisternas individuella problem som depression, fattigdom, kriminalitet samt tar upp saker som diskriminering och rasism på ett större makro nivå.

Everyday objects inspire and inform what I do. The personal histories and associations we may have with ordinary things are of great personal interest to me. Often times, these items reflect the social class, education, and background of the owners. I am drawn to these objects and the possibility of elevating them in a way that transcends their implied meanings (their worth, importance, and status). The transformation of the mundane is a method of working that allows associations to remain intact while bringing new meaning and perspective to the object. My method of working becomes an alchemic process aimed at turning the ordinary into "art" which is second only to turning used cooking oil into fuel to run your car, and maybe third to turning lead into gold.

5 Abstract This thesis is focused on the poetics of czech hip hop lyrics. It deals with meanings lyrics can posess inside the frame of different models of youth subcultures or in context of dominant culture. The comparathive method showed being of good use because of cultural transfer, that lies in the very basics of hip hop music and culture. The relation between music and lyrics in a whole of single performance, whether is it concert or record, is also an important topic of this research. Key words hip hop, rap, popular culture, lyrics, subculture

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Orientador: Bernadete Aparecida Caprioglio de Castro / Banca: Neusa de Fátima Mariano / Banca: Samuel Frederico / Banca: João Pedro Pezzato / Banca: Maria Bernadete Sarti da Silva Carvalho / Resumo: Este trabalho apresenta os resultados de uma pesquisa sobre os atores sociais do Movimento Hip Hop e suas práticas culturais, redes de sociabilidade e relações de troca no contexto urbano de uma cidade média, neste caso Rio Claro. Esta pesquisa tem como objetivo maior o estudo do espaço geográfico, espaço de todos os homense trabalhos, ações e racionalidades, em que é possível a manifestação da criatividade, da espontaneidade, da solidariedade orgânica, das contrarracionalidades que escapam ao domínio da racionalidade instrumental. As bases técnicas e materiais do espaço geográfico permitem que as ações globalizadas tornem-se realizáveis no território, mas também podem servir a outras finalidades se usadas com outros propósitos políticos e sociais, possibilitando que cada vez mais pessoas os utilizem, permitindo a manifestação de distintas racionalidades. O movimento Hip Hop é tido por nós como uma evidente manifestação da cultura popular. Um conjunto de ações que surge da criatividade de jovens pobres da periferia. É exemplo de outras possibilidades de apropriação do espaço urbano, exaltando as condições sociais de uso dos equipamentos urbanos. O movimento Hip Hop foi tomado por nós como movimento portador de ações subversivas, de contestação social, responsáveis pela construção de um saber pautado na experiência cotidiana e que se organiza em rede pelo território / Abstract: This paper presents the result of a survey of social actors in the Hip Hop Movement and cultural practices, social networks and exchange relations in the urban context of an average city, in this case Rio Claro. This research aims to study the largest geographical space, the space of all men and work, actions and rationales, it is possible the manifestation of creativity, spontaneity, organic solidarity, counter-rationalities which are outside the domain of rationality instrumental. The technical basis od geographical space and materials allow the actions globalized become realizable in the territory, but also can serve other purposes if used with other political and social purposes, enabling more people to use them, allowing the expression of distinct rationalities. The Hip Hop movement is regarded by use as a clear manifestation of popular culture. A set of actions that arises from the creativity of young people from the periphery. An example of other possibilities of appropriation of urban space, extolling the social use of urban facilitie. The Hip Hop movement was taken by us as a movement carrying subversive actions of social protest, responsible for building knowledge founded on the everyday experience and network that is organized by the territory / Doutor

Made available in DSpace on 2016-04-04T18:21:34Z (GMT). No. of bitstreams: 1 Christian Carlos.pdf: 4912857 bytes, checksum: 3545a222f4a21b1287ccb2ee478ae0e1 (MD5) Previous issue date: 2006-06-27 / O objetivo principal deste trabalho ? analisar a rela??o entre movimento hip hop e gest?o urbana na cidade de Campinas a partir dos anos de 1990. Tendo o movimento hip hop, tanto de um ponto de vista cultural, quanto pol?tico, atuando como um agente pol?tico transformador da realidade urbana local. Gerando nesse processo uma inser??o pol?tica, e gestora, nos destinos da cidade executada por sujeitos sociais historicamente marginalizados (jovens afro descendentes) habitantes das periferias urbanas campinenses, modificando assim o processo de gest?o urbana local. Possibilitando com isso a implementa??o de um modelo de nova urbanidade inclusivo, democr?tico e participativo modificando o car?ter tradicionalista e institucional na formula??o e aplica??o dos processos decis?rios dos rumos da cidade.