Cheung Kwok Lun, Alan. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2006-2007, design report." / Accompanying 2 research reports inserted in pocket at end of book. / Library's copy: Accompanying leaflet inserted in pocket at end of book. / Chapter c01 --- Manifesto --- p.02 / Chapter c02 --- Concept --- p.03 / Chapter c03 --- Strategy --- p.04 / Chapter c04 --- Program --- p.05 / Chapter c05 --- Particle system --- p.06 / Chapter c06 --- Design --- p.15 / Chapter c07 --- Theatre --- p.22 / Chapter c08 --- Shopping mall --- p.26 / Chapter c09 --- Exhibition --- p.31 / Chapter c10 --- Walkway --- p.34 / Chapter c11 --- Bridge --- p.36 / Chapter c12 --- Model photo --- p.39

Made available in DSpace on 2015-03-05T18:10:48Z (GMT). No. of bitstreams: 0 Previous issue date: 26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho propõe um estudo, conduzido pelas teorias da enunciação, sobre linguagem e subjetividade. Recorre a noções de intersubjetividade e referência propostas por Benveniste e a formulações sobre adolescência elaboradas sob o ponto de vista da psicanálise. Pretende investigar, levando em conta marcas lingüísticas indicativas de processos referenciais encontradas em letras de rap, as representações que os adolescentes fazem de si e da realidade, bem como de sua possível utopia. A partir daí, busca elementos para compreender que modos de subjetivação são engendrados na conjuntura atual, marcada pelo esvaziamento e a pulverização das referências e utopias que sustentavam gerações passadas. Parte do pressuposto de que a linguagem é condição da subjetividade (1); o ato trivial de colocação da língua em ato introduz aquele que fala em sua fala (2); o centro da referência no discurso é o sujeito da enunciação; assim, todos os elementos da língua precisam ser analisados na instância de discurso (3); através d / This work proposes a study, conducted by enunciation theories, about language and subjectivity. It makes use of intersubjectivity notions and references proposed by Benveniste and of formulations about adolescence elaborated from the point of view of psychoanalysis. It intends to investigate, considering linguistic marks which are indicative of referential processes found in rap lyrics, the representation that adolescents make of themselves and of reality, as well as their possible utopia. By doing this, the study looks for elements to understand which subjectivation are engendered in the current situation, marked by the emptying and the pulverization of the references and the utopias that supported previous generations. It departs from the presupposition that language is the condition for subjectivity (1); the trivial act of staging the language introduces the one who speaks in his/her talk (2); the reference center in discourse is the subject of enunciation; thus all language elements have to be analyzed in

Made available in DSpace on 2016-04-29T14:16:43Z (GMT). No. of bitstreams: 1 Giovanna Teixeira Borri.pdf: 2570550 bytes, checksum: c8894d2989fdfdd12a58607159b806a8 (MD5) Previous issue date: 2015-09-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Guided by a Marxist influence, we have developed in this paper an overview and analysis of the meaning of hip-hop as a political and cultural movement, which have found inside the cultural saraus from the suburbs a new way of resistance. The hip-hop was born in the end of military dictatorship and nowadays it tries to explain the neoliberal sociohistorical environment, representing the resistance of the youth from the suburbs to incentive of consumer spending, government resignation, retraction of rights, life militarization, prejudice, violence, etc. However this does not happen homogeneously, in the 2000s the intensification of the neoliberal ideology influenced the ideal of part of this movement, which surrendered to the positive side of the capitalism, ending with its political beliefs. Because of that and the abandonment of the suburbs by the government, including cultural aspects, youth and residents from the region built a new space of resistance: the cultural saraus. Influenced by the hip-hop, the saraus were born in the 2000s as a new way of resistance from the suburbs and they have becoming bigger and getting more people. In this way, the main objective of this research is understanding the influence that the hip-hop had during the construction of this new cultural space, and analyze its presence and action inside these cultural meetings. In order to do so, we use semi-structured interviews methodology with participants of the hip-hop movement inside the saraus culturais in the city of São Paulo. From this perspective, this research is of great relevance to the profession, since it discuss an unusual theme at Social Assistance category, and it brings to the academy the voice of young people who denounce trough the hip-hop protests of social questions inside the saraus / Norteado por uma influência marxista, desenvolvemos neste trabalho, a partir da esfera cultural e artística, uma síntese e análise do significado do hip-hop enquanto um movimento político-cultural que encontrou nos saraus culturais da periferia uma nova forma de resistência. O hip-hop surge no final da ditadura civil-militar e atualmente busca responder à conjuntura sócio-histórica neoliberal se caracterizando enquanto resistência dos jovens da periferia frente ao incentivo ao consumo, a desresposabilização do Estado, a retração de direitos, a militarização da vida, ao preconceito, a violência, etc. No entanto isso não se dá de forma homogênea, nos anos 2000 o acirramento da ideologia neoliberal influenciou o ideário de parte deste movimento que se rendeu aos prazeres oferecidos pelo capitalismo e esvaziou o discurso político que havia por detrás. Por conta disso, e do abandono da periferia pelo Estado, inclusive no aspecto cultural, jovens e moradores dessa região criaram um novo espaço de resistência: os saraus culturais. Influenciados pelo próprio hip-hop, os saraus nascem nos anos 2000 como outra forma de resistência da periferia que vem ganhando espaço e conquistando mais adeptos. Desta forma, o objetivo principal da pesquisa é entender a influência que o hip-hop teve na construção deste novo espaço cultural, e visualizar a sua presença e atuação nesses encontros culturais. Para tanto, utilizamos como metodologia entrevistas semi-estruturadas com participantes do movimento hip-hop que se inserem em saraus culturais da cidade de São Paulo. Nesta perspectiva, este trabalho é de grande relevância para a profissão por discutir um tema pouco abordado na categoria dos Assistentes Sociais e por trazer à academia a voz dos jovens que denunciam através da cultura hip-hop as manifestações da questão social no interior dos saraus

Forging connections across the fields of American, French, and African diaspora history, this dissertation traces the emergence of the Hip Hop cultural movement in New York City's African American and Latino neighborhoods in the 1970s and its globalization to a postcolonial France. Drawing on previously untapped archival sources in the U.S. and France, as well as dozens of original, in-depth oral histories with key figures (including musicians, journalists, dancers, visual artists, deejays, and businesspeople), "Between New York and Paris" uncovers the roots and routes of this trans-Atlantic history. Organized around a series of transnational encounters, the study examines how Hip Hop's various cultural practices (rapping, deejaying, graffiti, breakdancing) traveled first from New York's outer boroughs to the downtown Manhattan arts scene at the turn of the 1980s, and then spread to and became rooted in the disproportionately immigrant, working-class suburbs of France. This dissertation argues that the globalization of this (African)American cultural movement radically altered the terrain on which postcolonial Afro-French youth's national and diasporic membership was lived, contested, policed, and performed. Over the course of the last quarter of the twentieth century, as France was becoming home to the largest African-descended population in Europe as well as the second largest market for the production and consumption of Rap music in the world (behind only the United States), Hip Hop fostered a deep, transnational engagement--both by the movement's adherents and its critics--with the meanings of (African)Americanness and Frenchness, of citizenship and belonging, and of diaspora and democracy.

The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distributionlicensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom', politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. Reflecting the multi-disciplinary nature of hip-hop studies, an autoethnographic framework (Monaco, 2010; Munro 2011) is combined with poetic analysis, musicological discussion and social and cultural studies toexamine the pieces that comprise the published works. Through a consideration of poetics, linguistics, sociological issues and cultural considerations, a schematic emerges, describing a construct of lyrical techniques, signifying practices, social interactions and outsider narratives that speak to (re)imagining, (re)creating and (re)constructing local culture by expressing it through hip-hop and vice versa. This study demonstrates new knowledge regarding global and local intersections in Scottish hip-hop, identity construction and negotiation, and creative approaches to rap storytelling.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2017-04-18T14:41:47Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Horacio_da_Rosa_Briao_Dissertação.pdf: 12852330 bytes, checksum: 71b3309ab9780f3aede81e1caf2a52b5 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-04-20T20:01:59Z (GMT) No. of bitstreams: 2 Horacio_da_Rosa_Briao_Dissertação.pdf: 12852330 bytes, checksum: 71b3309ab9780f3aede81e1caf2a52b5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-20T20:01:59Z (GMT). No. of bitstreams: 2 Horacio_da_Rosa_Briao_Dissertação.pdf: 12852330 bytes, checksum: 71b3309ab9780f3aede81e1caf2a52b5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2010-09-15 / Sem bolsa / Este trabalho se propõe a discutir a cena do movimento Hip-Hop na cidade de Pelotas, através dos elementos formadores desta expressão artística: o MC (mestre de cerimônias), o DJ (disc-jockey), o break (dança) e o graffiti (arte plástica). Por tratar-se de um movimento social e uma expressão cultural e artística, com um grande número de adeptos ao redor do mundo, o Hip-Hop constitui-se em uma manifestação jovem de sentir, pensar e agir. O movimento Hip-Hop é uma expressão historicamente advinda das zonas periféricas das grandes cidades dando visibilidade à arte ai produzida. Como uma expressão da cultura juvenil, ganha centralidade nas questões sobre etnicidade, aqui desenvolvidas, especialmente através do conceito de quilombismo urbano. Assim, procura-se demonstrar que através de tais atividades artísticas e de comunicação, o movimento Hip-Hop demonstra uma potência para a inclusão social e construção da cidadania destes sujeitos. A pesquisa etnográfica teve início no programa de rádio “Comunidade HipHop” com a finalidade de mapear as atividades e os integrantes do Hip-Hop na cidade. Utilizou-se também de entrevistas semi-estruturadas tendo em vista traçar a trajetória social e as produções artísticas dos sujeitos. A articulação entre a cena local e nacional, estimulada pelas tecnologias virtuais, demonstra a cultura Hip-Hop em comunicação. / The aim of this study is to discuss the Hip-Hop scene in Pelotas, a town in southern Brazil, by investigating the elements that make up this type of artistic expression: the MC (master of ceremonies), the DJ (disc jockey), break dance, and graffiti (plastic art). Given that hip hop is a social movement and a sort of cultural and artistic expression, with a large number of followers around the world, it represents young people’s way of feeling, thinking, and acting. The Hip-Hop movement is an expression that historically originated in the outskirts of big cities, bringing visibility to the art produced therein. As a form of expression of young people’s culture, it has been at the core of the debate on ethnicity, discussed here, mainly through the concept of urban quilombismo. Therefore, one seeks to demonstrate that the HipHop movement, by virtue of these artistic and communication activities, has potentiality for the social inclusion and construction of citizenship of these individuals. Ethnographic research started with the “Hip-Hop Community” radio show in an attempt to map the activities and the profile of Hip-Hop followers in Pelotas. Semi-structured questionnaires were also used to point out the social trajectory and artistic productions of these individuals. The articulation between the local and national scenes, fostered by virtual technologies, shows the Hip-Hop culture at work.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-08-05T21:30:39Z No. of bitstreams: 1 Renata Carvalho da Silva - Disserta??o.pdf: 3335119 bytes, checksum: 33a37cb5b2e6b6d50a74d34ef61c2f14 (MD5) / Made available in DSpace on 2015-08-05T21:30:39Z (GMT). No. of bitstreams: 1 Renata Carvalho da Silva - Disserta??o.pdf: 3335119 bytes, checksum: 33a37cb5b2e6b6d50a74d34ef61c2f14 (MD5) Previous issue date: 2015-01-29 / This research aims reflecting about the artistic hip-hop productions and performances groups in Feira de Santana. Hip-hop is understood today, as the articulation of four teams / artistic elements that are part of the creative essence of the movement, they are: the disk jockey, the master of ceremonies, the break dancer and the graffiti artist, we can still consider a fifth team that is one relating to political activism. In the context of the city, we see the increasing presence of two of these elements, these are graffiti and rap?s manifestations. Over the past decade the hip-hop has been working in the cultural scene of Feira de Santana with the presence of two participative groups, the H2F association and the crew of graffiti artists NDF. These, in turn, have changed the relationship of subjects in the city, building artistic interventions and creating new spaces for dialogue and articulations. We find in Feirense scene, the emergence of independent cultural projects built by the hip-hop groups, which are organized to keep up culturally "alive" in the artistic context of the city. These groups demonstrate a preocupation to provide training (discussion) between their participants and lay hold of the effort and collective support for the dissemination of productions of rap groups, graffiti and break, and for the financing and organization of events, such as making shows , task forces, lectures and speeches. Considering hip-hop?s importance as a movement able to modify the models of creative participation and provide visibility peripheral culture, we try to understand, how was the hip-hop?s emergence and diffusion in the city of Feira de Santana, analyzing how they are organized groups in the construction of production and how young people fall into the hip-hop culture, as well as what the meanings are attributed to artistic practices within the social dimension Feira de Santana of hip-hop. It was used the qualitative research methodology, collections and observations being employed, using social networks and specialized websites as source of information and participants? identification. As collection instruments semi-structured interviews were conducted, photographs and notes in notebook. Speeches and photographs? analysis is based on the ethnographic method. / A pesquisa busca estabelecer uma reflex?o acerca das produ??es art?sticas e performances dos grupos de rap e grafite em Feira de Santana. O hip-hop ? compreendido na atualidade, como a articula??o de quatro elementos art?sticos, que fazem parte da ess?ncia criativa do movimento, s?o eles: o disk jockey, o mestre de cerim?nia, o dan?arino de break e o grafiteiro, podemos ainda considerar, em alguns grupos, uma quinta forma??o referente ao ativismo pol?tico. Nos ?ltimos dez anos o hip-hop vem ganhando espa?o na cena cultural de Feira de Santana com a presen?a de dois grupos participativos, a associa??o H2F e a crew de grafiteiros NDF. Esses, por sua vez, t?m modificado as rela??es dos sujeitos com a cidade, construindo interven??es art?sticas e criando novos espa?os de di?logos e articula??es. Encontramos na cena feirense a emerg?ncia de a??es culturais independentes, constru?das pelos grupos de hip-hop que se articulam para manterem-se culturalmente ?vivos? no contexto art?stico da cidade. Esses grupos demonstram uma preocupa??o em proporcionar forma??o (discuss?o) entre seus participantes e lan?am m?o do esfor?o e apoio coletivo para a divulga??o das produ??es dos grupos de rap e grafite, e para o financiamento e organiza??o dos eventos, como a realiza??o de shows, mutir?es, palestras e interven??es.Considerando a import?ncia do hip-hop enquanto um movimento capaz de modificar os modelos de participa??o criativa e proporcionar visibilidade a cultura perif?rica, busca-se compreender, como se deu o surgimento e a difus?o do hip-hop na cidade de Feira de Santana, analisando como se organizam os grupos na constru??o das produ??es e de que forma os jovens se inserem na cultura hip-hop, bem como quais os sentidos e significados s?o atribu?dos ?s pr?ticas art?sticas dentro da dimens?o social do hip-hop de Feira de Santana. Na metodologia foi utilizada a pesquisa qualitativa, sendo empregadas coletas e observa??es, usando as redes sociais e sites especializados como fonte de informa??o e identifica??o dos participantes. Como instrumentos de coleta foram realizadas entrevistas semi-estruturadas, fotografias e anota??es em caderno de notas. A an?lise das falas e fotografias ? baseada no m?todo etnogr?fico.

This Statement of Purpose does not give a history of hip-hop or hip-hop poetry but rather how this particular poet fits into the current phase of hip-hop and performance poetry. In it, I discuss and explain the new pro-working class hip-hop performance poetic. This includes extensive discussion of how rap poetry conveys meaning through sound. Also discussed is the socioeconomic context for the suburban southwestern topics found in the manuscript. This statement is a parallel piece to the manuscript itself in that it explains a brown kid from San Bernardino’s journey of connecting words and music for purposes of personal expression and potentially the betterment of his community. This statement also discusses my aesthetic beliefs and preferences as a sound poet with a background in performance and music.

<p>This research aimed for an extended knowledge and understanding of young people in stigmatized areas and their construction of group identity. With a focus on Roma youths in Konik, Montenegro, and their involvement in hip-hop we wanted to explore what this culture meant to them in relation to their context. An ethnographic approach was used in collecting the empirical data through observations, interpreting music lyrics and conducting qualitative semi-structured interviews. Five young Roma boys from Konik, all involved in hip-hop, were interviewed. Theoretical perspectives on identity, youth culture and stigmatization were central. In addition, Bourdieu’s theory regarding cultural capital was emphasized and connected to youths and hip-hop. The empirical material showed that involvement in hip-hop provided the Roma youths with a group identity that they referred to in positive terms. Contextual factors of stigmatization excluded the Roma group from the majority population and the engagement in hip-hop created a possibility for the youths to be someone. The cultural capital gained through hip-hop was not used to verify and legitimate an authentic Roma identity. It was rather a way for them to create boundaries towards the negative elements in their community.</p>

<p>Bakgrund: I dagens samhälle har varumärken kommit att spela en allt större roll för såväl konsumenter som företag. Varumärken fungerar som en ledsagare i individers sökande efter identitet och samtidigt som en gemensam nämnare eller tillhörighetsfaktor inom olika subkulturer. Företag kan med hjälp av symboliska värden sända ut signaler som stämmer överens med olika individers värderingar och på så sätt attrahera konsumenter och samtidigt ringa in en önskad målgrupp. Dock kan även det motsatta inträffa, det vill säga en annan grupp än den tänkta målgruppen kan komma att adoptera ett företags varumärke och göra detta till en del av gruppens image.</p><p>Syfte: Syftet med denna studie är att identifiera och åskådliggöra hur en subkultur kan påverka det symboliska värdet av ett varumärke.</p><p>Genomförande: För att uppnå syftet har det verkliga fenomenet hip-hopkulturens adoption av varumärket Adidas valts att empiriskt undersökas. Detta utifrån kvalitativa intervjuer gjorda med respondenter från hip-hopkulturen så som bland andra gruppen Latin Kings och Infinite Mass, tillsammans med personer från företaget Adidas, samt analyschefen på MTV Nordic Networks och radioproducenten Stefan Wermelin.</p><p>Resultat: Denna undersökning visar bland annat på att en subkultur kan påverka det symboliska värdet på ett varumärke genom att inte enbart ta till sig de symboliska karaktärer varumärket står för, utan även överföra subkulturens värderingar på varumärkets image. Emellanåt så inträffar företeelsen att teori och verklighet inte talar samma språk, vilket vidare visas i denna uppsats. Hip-hopkulturens konsumtion av Adidas tjänstgör här som ett konkret exempel på en rådande anomali som bryter det traditionella marknadsföringsparadigmet.</p>