Studien behandlar musiklärares förhållningssätt till gangsterrap i skolan där deltagarnas uttalanden och reflektioner har analyserats med fältteori. Studien utforskar dessutom informellt lärande och pedagogiska aspekter utifrån vetenskapliga teoretiska discipliner som interpellation. Syftet är att beskriva hur musiklärare förhåller sig till läroplanens övergripande mål och riktlinjer när musiklärare tillämpar musikskapande och utövning av gangsterrap specifikt men även andra musikgenrer med texter som kan ses strida mot värdegrunden i Lgr22. Studien är kvalitativ där fältstudierna bestod av fyra halvstrukturerade intervjuer. Studiens Resultatet visar bland annat lärares positioner och kulturella kapital spelar roll för hur gangsterrap förstås och används av elever och musiklärare.

Since its conception, hip hop has assumed an increasingly important role in today's media society. Today, many swedish hip hop artists often find themselves at the intersection of bottom-up and top-down representations. Despite the genre's many positive features of self-expression and social reflection, artists are constantly faced with a complex challenge. Hip hop artists must constantly navigate prejudice, stereotypes, and sometimes one-sided media representations while trying to convey their voices and perspectives. Through a case study of five Instagram images each of five different Swedish rap artists, a total of 25 images (Yasin, Asme, ADAAM, Z.E and Silvana Imam), a thematic content analysis and a social semiotic analysis, this study aims to investigate and analyze bottom-up representations of Swedish rap artists in social media. The study also aims to contribute to the discussion and problematization of whether, and if so how, rap artists themselves can challenge or reproduce prevailing top-down representations of them. The theoretical framework consists of representation, social semiotics, active choice theory, multimodality, intersectionality and norms. The empirical material has been interpreted and analyzed through the theoretical framework along with a denotative and connotative analysis and the analysis categories camera angle, poses and attributes in order to uncover the underlying meanings of the empirical material. The analysis suggests four identified themes in the empirical material which are power and status, glamorous and exclusive lifestyle, criminality and intimacy. The analysis shows that rap artists use different types of semiotic resources to emphasize and represent different aspects of themselves. For example, camera angles are used in a frog’s-eye view to represent the artists as authoritarian and rich of status, which is linked to norms of status. Expensive and exclusive designer clothes are used to give the appearance of a glamorous and exclusive lifestyle, while black clothes and threatening poses accentuates a criminal image linked with the lifestyle of a Swedish rap artist. Through semiotic resources related to norms of intimacy, the artists help to represent themselves as intimate. The analysis suggests that rap artists can both challenge and reproduce top-down representations of themselves, but that they in most cases only reproduce the perception of them.

När priset på naturtillgångar ökar samt att industrier måste ställa om till en mer hållbar verksamhet innebär detta även en omställning för asfaltsindustrin. Ett sätt för att använda mer återvunnet material i asfaltsindustri är att använda bindemedlet från gammal asfaltsmassa (eng.: reclaimed asphalt pavement, RAP). Detta kan dock inte göras utan komplikationer och därför måste bindemedlet föryngras innan för att kompensera för faktorer så som hög styvhet, låg krakning och trötthetsförmåga samt dålig anti-åldring förmåga hos RAPen. I det här projektet har två olika typer av föryngringsmedel använts; ett växtoljebaserat och ett petroleumbaserat mjukbitumen. Detta för att se om det var möjligt att använda förnybart och återvunnet material i bindemedlet men fortfarande uppnå samma prestanda som konventionellt bindemedel. Två blandningar gjordes hjälp av de två olika föryngringsmedlen och RAPen och analyserades parallellt med ett referensmaterial. Analyserna delades upp i två kategorier: reologi och kemi. Analyserna som föll under reologikategorin var mjukpunkt- och penetrationsanalyser, samt analyser med en dynamisk skjuvning reometer (eng.: dynamic shear rheometer, DSR) och en böjbalksreometer (eng.: bending beam rheometer, BBR). Under kemikategorin fanns analysmetoderna tunnskiktskromatografi med flamjoniseringsdetektor (TLC-FID) och Fourier transform infraröd spektroskopi (FTIR). Resultaten påvisar att åldring påverkas mycket av vilket föryngringsmedel som används, vilket blev tydligt när den reologiska förmågan testades. De kemiska analyserna gav stort sett liknade resultat oberoende av bindemedel. Blandningen som innehöll RAP och mjukbitumen visade sig vara mer mottagligt för åldring jämfört med den andra blandningen som innehöll växtolja, trots att den blandningen innehåller längre halt av RAPen. Vidare visar resultaten att blandningar kan prestera likt referensmaterialet när det kommer till reologi. Från den kemiska aspekten, uppvisar alla bindemedelsmaterial liknande egenskaper. Därför kan slutsatsen att RAPen var återvunnen med framgång när växtolja och mjukbitumen användes. / In recent years there has been a lot of focus on reduction of carbon footprint and sustainable development. For the asphalt industries, a way of doing this is to use reclaimed asphalt pavement (RAP) binders. This cannot be done without any complications and therefore, the RAP binder is normally rejuvenated to compensate for its high stiffness, and other poor properties like susceptibility to low temperature cracking and fatigue damage. In this project, two different ways of using RAP binder are investigated: one vegetable oil-based rejuvenator and one soft bitumen. Using the rejuvenator and soft bitumen together with a RAP binder, two different blends were made and compared to a reference bitumen which is commonly used in Sweden. The blends were made in such a way that the penetration values were close to the reference sample. Aging tests were performed by RTFOT and PAV. The testing of the non-aged and aged binder materials was divided into two sections: rheology and chemistry. The rheology testing included softening point, needle penetration, analysis with dynamic shear rheometer (DSR) and bending beam rheometer (BBR) whereas the chemistry testing included thin layer chromatography with flame ionization detector (TLC-FID) and Fourier transform infrared spectroscopy (FTIR). The results indicated that the ageing resistance of the binder materials is affected by the type of rejuvenator used which especially affects the rheological performance. The chemical performance was almost the same in each blend. The blend containing RAP binder and soft bitumen was more susceptible to ageing compared to the other blend containing oil-based rejuvenator even though the blend contained less of the RAP binder. The results also shows that the blends can perform equal to the reference sample for a rheological point of view. From a chemical point of view, the binders, including the reference, have the same properties. Therefore, the RAP binder was successfully recycled using both a bio-oil rejuvenator and soft bitumen.

Made available in DSpace on 2017-07-10T16:17:16Z (GMT). No. of bitstreams: 1 Dissertacao_IOLANDA_ MACEDO.pdf: 2985611 bytes, checksum: e1bc545fe48a88e24ffb3f661aa64ea3 (MD5) Previous issue date: 2010-03-05 / This study aims at examining the educational processes that are inherent to hip hop. This cultural movement emerged in the United States, created primarily by young people from African American and Latin American communities in the suburbs of New York city in the late 1970s. Four elements are present in the constitution of hip hop: the DJ, MC, breaking and graffiti writing; later, knowledge was included as another element. The performance of the DJ and the MC originates the rap genre. This musical genre is widely consumed, mainly by young people from many countries, since the rap style has gone through a process of globalization, in which the cultural industry, especially the North American one, played a key role. The movement has complex roots and, consequently, presents a heterogeneous context. In this sense, even though hip hop is related to a common collective universe, in the emergence of the street culture, it presents conflicts and contradictions, as in any other community. The hip hop movement came to Brazil through the media, but we consider that this transposition process was not based solely on the passive consumption, but on its reappropriation. This way, Brazilian hip hop is constituted as a local expression of a worldwide phenomenon. Rap, besides being a musical genre consumed by young people from the Brazilian suburbs, is also a generator of meanings, and its musical discourse is characterized as one of the stages of this production. Thus, besides listening to the songs, the public also wants to know who make them, and what their opinions, ideas and understanding of reality are. This production of meaning also permeates an aesthetic, behavioral, political and ideological construction. In order to explain such debate, we also use the concept of identity. The understanding of the educational processes intrinsic to rap is mainly due to the understanding of education in its broadest sense. In this sense, we consider that rap, as an deliberate musical discourse, propitiates a process of informal education. We aim at identifying in Brazilian rap, in which crime and violence are prevalent in the presentation of discourse, how the rappers try to convince the public to share a certain understanding of the historical reality, in particular the economic and social segregation experienced in the suburbs. Through this discourse and informal educational act, the rappers also aim at stimulating a change of behavior in his listeners, trying to lead them to participate of their action strategy towards a social change. / Este trabalho tem como objetivo compreender os processos educativos inerentes ao hip hop. O movimento cultural foi criado nos Estados Unidos primordialmente por jovens afro-descendentes e latinos, moradores de regiões periféricas da cidade de Nova Iorque, no final da década de 1970. Na constituição do hip hop aglutinaram-se quatro elementos: o DJ, MC, break e graffite, posteriormente, o conhecimento foi incluído neste conjunto. A atuação do DJ e do MC origina o rap. O gênero musical é amplamente consumido, preferencialmente por jovens de inúmeros países, pois o rap atravessou um processo de mundialização, em que a indústria cultural, sobretudo norte-americana, teve um papel fundamental. O movimento possui raízes complexas, como conseqüência, apresenta um contexto heterogêneo. Neste sentido, mesmo que o hip hop esteja relacionado a um universo coletivo comum, no âmbito da emergência da cultura de rua, é dotado de conflitos e contradições assim como em qualquer outra coletividade. O movimento hip hop chegou ao Brasil através da mídia, mas entendemos que este processo de transposição não esteve fundamentado apenas no consumo passivo, mas na sua reapropriação. Desta forma, o hip hop brasileiro se constitui como expressão local de um fenômeno mundial. O rap, além de ser um gênero musical consumido pelos jovens das periferias brasileiras, também é gerador de sentidos, cujo discurso musical se caracteriza como uma das etapas dessa produção. Assim, o público, além de ouvir as canções, busca conhecer quem as produz, ouvir suas opiniões e idéias, seu entendimento sobre a realidade. Esta produção de sentido também perpassa por uma construção estética, comportamental, política e ideológica. Para explicar tal debate, recorremos ainda ao conceito de identidade. A compreensão em relação aos processos educativos intrínsecos ao rap decorre, sobretudo, no entendimento da educação em seu sentido amplo. Nesta acepção, entendemos que o rap enquanto discurso musical deliberado possibilita um processo de educação informal. Busca-se identificar através do segmento do rap brasileiro, em que a criminalidade e a violência são predominantes na exposição do discurso, como os rappers objetivam o convencimento do público para que este compartilhe de um determinado entendimento da realidade histórica, em particular, a segregação econômica e social vivenciada pela periferia. Através deste discurso e ato educativo informal, os rappers também pretendem estimular uma mudança de comportamento em seus ouvintes para que estes participem da estratégia de ação que construíram e que almeja uma mudança social.

Lorsque l'on parle de la formation rap Loco Locass, il est généralement question de la portée engagée de son discours. Certes, le caractère politique des textes qu'elle nous présente n'est point à remettre en question. Pour bon nombre de gens, Loco Locass rime avec souveraineté et défense de la langue française. Bien sûr, il y a de cela dans l'oeuvre locassienne. Le"hic", c'est que certains thèmes présents dans les rapoèmes de Batlam, Biz et Chafiik sont trop souvent écartés par la critique, tout comme le caractère poétique pourtant si riche des textes que nous proposent les trois MC. Plus encore, on ne saurait aborder l'oeuvre du trio sans relever l'une de ses forces majeures : sa dimension engageante . L'objectif général de ce mémoire est donc de dégager les principaux éléments de l'esthétique locassienne, de manière à établir jusqu'où va l'engagement du groupe rap. L'objectif du premier chapitre est de relever les différents thèmes abordés dans les chansons de l'album Manifestif , afin de voir si Loco Locass ne fait que reprendre les deux principaux idéaux chantés dans les années 1960 et 1970 - soit la souveraineté et la langue française -, et que d'aucuns considèrent de plus en plus dépassés, ou si, au contraire, il en formule de nouveaux. En continuité avec celui-ci, le deuxième chapitre cherche à montrer en quoi l'intertextualité, l'échantillonnage et la voix américanisée que les rapoètes empruntent sont autant de dispositifs formels qui inscrivent Loco Locass dans la tradition engagée tout en la prolongeant. Si les deux premiers permettent au présent et au passé de se confronter et de se servir l'un l'autre, le troisième permet de reprendre un discours maintes fois entendu dans un langage tout à fait contemporain et"au goût du jour". Enfin, le troisième chapitre met en lumière la dimension engageante de l'oeuvre locassienne, en montrant comment Loco Locass utilise des procédés spécifiques qui lient le trio au public par le biais d'un acte communicationnel et engage, par le fait même, ce dernier à un véritable travail de co -création. L'étude de l'énonciation, dans un premier temps, puis celle des procédés stylistiques - c'est-à-dire de l'intertextualité, de l'échantillonnage, des jeux de mots et du métadiscours - permettent de constater que l'auditeur est bel et bien impliqué dans la démarche artistique du groupe, soit par des adresses directes à son endroit ou par des invitations plus implicites à s'investir dans une démarche interprétative. En somme, il s'agit de faire connaître le fonctionnement du discours locassien et de faire ressortir la richesse que celui-ci recèle.

Secretion of appropriate amounts of insulin from pancreatic β-cells is crucial for glucose homeostasis. The β-cells release insulin in response to glucose and other nutrients, hormones and neurotransmitters, which trigger intracellular signaling cascades, that result in exocytotic fusion of insulin-containing vesicles with the plasma membrane. Increases of the intracellular concentration of calcium ions ([Ca2+]i) trigger exocytosis, whereas the messenger cyclic adenosine monophosphate (cAMP) amplifies various steps of the secretion process. The protein Epac2 mediates some effects of cAMP, but little is known about its regulation in β-cells. In this study, the spatio-temporal dynamics of Epac2 was investigated in insulin-secreting MIN6-cells and primary β-cells using various cell signaling biosensors and live-cell fluorescence microscopy approaches. Increases in the cAMP concentration triggered translocation of Epac2 from the cytoplasm to the plasma membrane. Oscillations of cAMP induced by glucose and the insulin-releasing hormone GLP-1 were associated with cyclic translocation of Epac2. Analyses of Epac2 mutants showed that the high-affinity cyclic nucleotide-binding domain and Ras-association domains were crucial for the translocation, whereas neither the DEP domain, nor the low-affinity cAMP-binding domain were required for membrane binding. However, the latter domain targeted Epac2 to insulin granules at the plasma membrane, which promoted their priming for exocytosis. Depolarization-induced elevations of [Ca2+]i also stimulated Epac2 translocation, but the effects were complex and in the presence of high cAMP concentrations, [Ca2+]i increases often reduced membrane binding. The stimulatory effect of Ca2+ was mediated by increased Ras activity, while the inhibitory effect reflected reduced concentrations of the membrane phospholipid PtdIns(4,5)P2. Anti-diabetic drugs of the sulfonylurea class, suggested to directly activate Epac2, induced translocation indirectly by depolarizing β-cells to increase [Ca2+]i. Epac2 is an activator of Rap GTPases, and its translocation increased Rap activity at the plasma membrane. It is concluded that the subcellular localization of Epac2 is controlled by a complex interplay between cAMP, Ca2+ and PtdIns(4,5)P2 and that the protein controls insulin release by binding to the exocytosis machinery. These results provide new insights into the regulation of β-cell function and may facilitate the development of new anti-diabetic drugs that amplify insulin secretion.

Although music has seemingly always formed an integral part of human culture, technological advances in contemporary society have increased both its accessibility and portability, allowing for unprecedented production and consumption of a medium that allows individuals to enact and display various social identities during day-to-day life. Furthermore, recent research has demonstrated that youth consume more music that any other age group. Thus music may be considered as a primary cultural influence in the lives of youth. While the bulk of the research conducted in understanding the form and function of this influence has been located in the disciplines of sociology and musicology, Psychologists in Europe and America have become increasingly interested in understanding the role of music in constructing and maintaining identity during this critical period of development. As a contribution to this field of application outside of these contexts and located within a qualitative framework, this study explored the role of Rap/Hip Hop music, as one of the most popular global and local genres of music, in the meaning and maintenance of identity in a cohort of South African youth. The resultant thematic framework illustrated the complex tensions negotiated by youth through assuming Hip Hop culture membership in South Africa. Importantly, the study showed that the nature of Hip Hop culture; its emphasis on self-expression, individuation and critical social awareness dovetails with many of the traditional psychological developmental theories of youth identity. Hip Hop consumption also implied appropriating identity markers from a wide range of social influences, posing challenges to the application of traditional social identity theory in accounting for in and out groupings. This was most pronounced in the way that ‘remixing’, as a governing musical principle in Hip Hop seems to resonate as key mode of identity and identification amongst its South African consumers. Thus, it seems fitting that South African youth currently in the midst of cultural, economic and political transitions would embrace an eclectic rather than rigidly bounded genre of music with such enthusiasm. In some ways then Hip Hop in South Africa, appears to provide youth with the means to remix past and present, old and new, global and local, self and other.

Orientador: Vitor Machado / Banca: Maria Valeria Barbosa / Banca: Andressa de Souza Ygaya / Resumo: Este trabalho teve como objetivo a elaboração de um objeto de aprendizagem, por meio da realização de uma sequência didática que evidencie a relevância metodológica e filosófica de uma prática pedagógica que valorize uma manifestação cultural de matriz africana, a saber: o rap. O intuito é fomentar o diálogo entre conteúdos curriculares e as manifestações culturais na perspectiva das relações étnico-raciais positivas. Neste processo de investigação analisamos a aplicabilidade da Lei 10.639/03 junto ao Currículo Oficial da Rede Estadual Paulista, implementada por meio de uma série de documentos e materiais orientadores da prática pedagógica dos professores da educação básica. A pesquisa de caráter qualitativo foi desenvolvida, especialmente, junto à disciplina de história, com alunos e professores do 8º ano do ensino fundamental. / Abstract: The objective of this work was the elaboration of an object of learning, through the accomplishment of a didactic sequence that evidences the methodological and philosophical relevance of a pedagogical practice that values a cultural manifestation of African matrix, namely: rap. The aim is to foster dialogue between curricular contents and cultural manifestations in the perspective of positive ethnic-racial relations. In this process of investigation we analyze the applicability of Law 10.639 / 03 next to the Official Curriculum of the State of São Paulo Network, implemented through a series of documents and materials guiding the pedagogical practice of teachers of basic education. Qualitative research was developed especially with the history discipline, with students and teachers from the 8th year of elementary school. / Mestre

Actualmente el rap en Lima tiene la acogida de miles de jóvenes, muchos de ellos cada semana se reúnen a hacer música en distintos puntos de la ciudad. Sin embargo, la escena musical conformada por la tribu urbana de los raperos, donde se encuentran creadores, productores, distribuidores y consumidores de rap, no se limita solo al espacio físico, también podemos encontrar gran interacción de esta comunidad en las redes sociales, especialmente en Facebook y YouTube. En el presente trabajo se busca analizar cómo son usadas dichas redes sociales en el proceso de difusión de las batallas de rap limeñas de la última década. Como hipótesis se sostiene que la escena musical de rap usa Facebook y YouTube de manera complementaria para producir y consumir material digital sobre el género de manera rápida e interactiva, y que a la vez esto sirve para difundir los eventos de batallas de rap limeñas del mundo físico. Para llevar a cabo esta investigación se recurre a hacer el análisis de contenido de páginas de Facebook y canales de YouTube relevantes para la escena de rap limeña. Así mismo, se realizan entrevistas a personajes entendidos en la materia del rap peruano. Entre los resultados más relevantes, identificamos que el público de las batallas de rap usa Facebook y YouTube para consumir contenido audiovisual dando preferencia a la novedad del material antes que a su calidad técnica. El material subido a la web de forma veloz que no suena ni se ve muy claramente adquiere más popularidad que el contenido registrado de forma profesional que se demora unos cuantos días en ser publicado. Así mismo, cabe indicar que en el panorama de las batallas de rap los youtubers son fundamentales al momento de difundir y valorar el nivel de los eventos de rap y los raperos. / Tesis

This thesis asks why women gangsta rappers have been excluded from virtually all academic and popular discourses about the genre. While ‘positive’ and ‘empowering’ New York-based female rappers in the late 80s and 90s are often referenced by those concerned with gangsta rap’s misogynistic tendencies, women rappers in Los Angeles who performed alongside male gangsta rappers, were represented on labels managed by gangsta rappers, and were otherwise self-consciously engaging in the gangsta rap style are almost never acknowledged by either the genre’s defenders or detractors. By interrogating this discursive absence, I reevaluate the neoliberal sexual and racial politics of gangsta rap’s censorship discourse and interrogate the rhetorical and representational strategies deployed by female gangsta rappers such as Lady of Rage, Bo$$, NiNi X, Menajahtwa, H.W.A., and Yo-Yo to both contest misogyny and express coalitional affinity with their male counterparts from within the genre itself.