1 The aim of the thesis is the reconstruction of the linguistic image of "Friend and foe" category on the basis of the selected hip-hop texts. The theoretical part of the work will be devoted to the basic aspects of the linguistic image of the world theory and also the history of the hip hop music genre of in Poland. Material for the analytical part of the thesis will be texts of selected artists of the older (e.g. Stare Miasto, Kaliber 44, Liroy, Wzgórze Ya-Pa 3), and also the younger Polish hip-hop generation (e.g. O.S.T.R., Donatan, Małpa, Taco Hemingway). Using their content analysis, the author tries to reconstruct the "Friend and foe" category image based on subcategories, such as "My place", "My person", "My life ideals" as well as "internal enemy" and "external enemy". Texts from different time periods will be analysed, which will allow to answer the question of how and whether the reconstructed image changes over time.

Iced out vitguld, färggranna ädelstenar och emalj. Bling kommunicerar framgång och är en plats för att uttrycka sin individualitet. Föreställande allt från klassiska symboler till moderna logotyper eller seriefigurer, i dyrbara material och höga prislappar. Men hur ser det ut om man applicerar amerikanskt bling på svenska symboler, och vad är skillnaden mellan amerikansk och svensk popkultur? Om man byter ut vitguld med aluminium och emalj till sprayfärg? Om det istället för att drip too hard, drip too lagom. / Iced out white gold, Colorful gemstones, and enamel. Bling communicates success and is a place to express one’s individuality, depicting anything from classic symbols to modern logos or cartoon characters.  But what happens if you apply American bling to Swedish symbols? And what are the differences between American and Swedish pop culture? If we change white gold to aluminium and enamel to spray paint? If instead of drip too hard, drip too lagom.

No description available.

No description available.

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Quan, Xixi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

This article addresses the question how Bongo Fleva (or Flava, from the word ‘flavour’) - also defined as muziki wa kizazi kipya (‘music of a new generation’) - and Hip-Hop in Swa-hili, reflect Tanzanian urban youth culture, with its changing identities, life-styles, aspirations, constraints, and language. As far as young people residing in small centres and semi-rural ar-eas are concerned, I had the impression that they have the same aspirations as their urban counterparts, especially those in Dar es Salaam. They keep well up to date on urban practices through performances, radio and local tabloids, even if they lack the same job and leisure op-portunities as their city brothers. Although I do not take ‘youth’ as a fixed and homogeneous category, the ‘young generation’ has been assuming a central, though frequently ambiguous, position in many places in Africa (for this issue, see Burgess 2005). Here, however, I have chosen to focus on two urban contexts, namely Dar es Salaam and Mwanza, the sites of my one-and- -half-year fieldwork between 2004 and the end of 2005.

For over a decade now, Bongo Fleva has been the dominant category of popular music in Tanzania, surpassing Muziki wa Dansi (dance music) and Taarab in terms of its presence in the media. Bongo Fleva has become deversified in the last years and at present includes elements of traditional music as well as popular dance music, both of African and Western origin (Raab 2006: 43 ff.). As a result, contemporary Bongo Fleva is stylistically complex. Ther lyrics of Bongo Fleva are specifically determined by 1) the use of Swahili youth language and slang expressions. 2) the representation of modern and young lifestyles, and 3) socio-critical contens with pedagocial and moralistic tendencies. The lyrics of Bongo Fleva are marked by youth discourse which is most important for the construction of youth identities. While Bongo Fleva text with dialogic structure seem to continue the older tradition of Muziki wa Dansi, the dramatic texts remind of the way folk narratives are told in Tanzania. As the dramatic Bongo Fleva texts make use of direct speech, often of several characters, and without introduction, it seems that traditional techniques of story-telling have an effect on Bongo Fleva rap lyrics. In this article a rap text of this kind, Mikasi (\"Sex\"), released in 2004 by Bongo Fleva artist Ngwair, will be analysed with regard to its form, content and function. As it conteain different roles and dialogues, it is suitable for the investigation of youths`talk. A special focus will be put on the self-portrayal of the youths in the dialogues of the song, and on the question how boasting and dissing is performed in a dialogic text.

Thesis (doctoral)--Freie Universität, Berlin. / Includes bibliographical references.

Thesis (doctoral)--Freie Universität, Berlin. / Includes bibliographical references.