Em nossa pesquisa intitulada O Rap Ecoa na Literatura Infantil, buscamos investigar diálogos que a literatura infantil e juvenil estabelece com outras formas de comunicação e outras artes, movimento que vem ocorrendo com intensidade e que concorre para modificações nesse universo literário, bem como, na imagem de seu interlocutor. Elaboramos um breve estudo por alguns caminhos percorridos historicamente pelos textos infantis, passamos por uma contextualização sobre a música, e os elementos que compõem a Cultura Hip-Hop e um de seus pilares o rap, posto que, selecionamos para objeto de estudo a obra Um Garoto Chamado Rorbeto, do rapper Gabriel Contino O Pensador. Buscamos evidenciar códigos literários e manifestações da cultura hip-hop compartilhados, as negociações entre os discursos sociais, o de denúncia característico do rap e o do poder instituído fortemente representado na obra; a partir disso, buscamos tangenciar possíveis imagens de criança e de infância que se fazem presentes em nossa contemporaneidade. / In our survey entitled The Rap Echoes in Children\'s Literature, we show the children\'s as well as youth\'s literature dialogues - in whose genesis there is a child picture- with other forms of communication and arts, movement that is happening with intensity and that contributes to changes in this literary universe, as well as the image of the speaker. We prepared a brief study through paths followed by some historical texts for children, we passed through a contextualization of the music, and the elements that make up the Hip-Hop Culture and one of its pillars - the rap in which the object of study selected for the work was A Boy Called Rorbeto, from the rapper Gabriel Contino - O Pensador (The Thinker). We show literary codes and shared literary manifestations of hip-hop culture, negotiations between the social discourse, the complaint - characteristic of rap - and the institutional power strongly represented in the work; from that point, we seek possible tangent child and childhood images that are present in the present.

Orientador: Andreas Hofbauer / Banca: Alexandre Bégamo Idargo / Banca: Rose Satiko Gitirama Hikiji / Resumo: Os rappers que estudamos para o desenvolvimento desta dissertação residem na periferia da cidade de Marília, município situado no centro-oeste do estado de São Paulo. Pesquisamos o público destes rappers, mais especificamente os jovens da favela Parque das Nações e do bairro Santa Antonieta II, ambos localizados na zona norte de Marília. Selecionamos como temáticas principais para este estudo o modo como os hiphoppers de Marília vivenciam as rivalidades entre eles e como esses jovens concebem a idéia de talento. Narramos como o trabalho de campo aparece como uma experiência onde foram repensadas certas referências como o relativismo e a autoridade do pesquisador. Ressaltamos os discursos de idéias presentes nas letras de rap, sua relação com a musicalidade e o contexto social dos seus produtores. Algumas diferenciações estabelecidas pelos hip-hoppers através de suas opiniões acerca das pessoas dos locais onde moram e, principalmente, de outros hip-hoppers também foram analisadas nesta dissertação. Focamos como o talento pode ser articulado para diferenciar uns jovens dos outros tendo o potencial de desencadear um conflito entre o coletivo e o individual. / Abstract: The rappers we have studied at this essay live in the suburbs of Marília City. This city is located in the Middle West of São Paulo, Brazil. We have investigated the public of the rappers, especially the young people of the following suburbs: Parque das Nações and Santa Antonieta II, both located in the North of Marília. For this study, we have approached how hip-hoppers experience rivalry and how those young people understand the idea of talent. Thus, we have related how the field research appears as an experience, because some references had to be rethought, like Relativism and the authority of the researcher. We have emphasized speeches that came from the ideas of the lyrics, their relationship with musicality and the social context of their authors. Some differences established by the hip-hoppers of some people of their community and of others hip-hoppers have been analyzed at this essay. We have also approached how talent can be articulated in the process of differing young people from other young people and how talent can distance them of the social uniformity. Moreover we have observed the mechanisms that confer social recognition for the rap artists, because an artist can reach legitimacy if he made songs that speak about economy and if he used his talent to make social changes for their suburbs. However we have also observed how the conflict occurs in the artist life like a gift, in other words, the ambiguity among collective and private. / Mestre

Cette thèse se propose d’étudier le rap français dans une pratique biographique à visée éducative et formative. Elle s’intéresse aux ressources biographiques que le rappeur met en œuvre lors de l’écriture d’un texte de rap. L’écriture rappologique peut être considérée comme une écriture biographique où le sujet se (re)configure par la voie de la création de textes et de musique en tant que son propre objet de recherche. Pour explorer cette dimension d’écriture biographique du rap, ce travail s’est efforcé de réaliser la biographie de la rappeuse Diam’s en s’appuyant sur la théorie des moments de Remi Hess et en prenant comme seul support les textes de la rappeuse, qui sont autant de récits de vie. Ce travail rend également compte de la formation de soi qui s’élabore pour le rappeur au moment de l’écriture du rap. Les entretiens de recherche qui ont été effectués avec des rappeurs placent la pratique du rap en tant que pratique formative, puisque celle-ci sollicite des savoirs acquis qu’elle développe en même temps qu’elle s’exerce. Cette thèse met également en évidence le caractère social du rap qui participe à la socialisation de soi et de l’autre. Pensée en tant que pratique éducative, cette recherche s’intéresse à la portée formative que le rap apporte à celui qui l’écoute. Elle présente les différentes formes de construction et de formation de soi qui se font par l’intermédiaire du rappeur, en mettant en évidence l’hétérobiographie (Delory-Momberger). Le rap apparait aussi comme un médiateur social qui ferait le lien entre les institutions et le jeune. Le rappeur prend alors le rôle d’éducateur en transmettant des valeurs à ses auditeurs et en mettant en place des dispositifs favorisant le développement du jeune adulte. / This thesis is intended to study the French rap music in a biographical practice with an educational and formative goal. This research is focusing on the resources implemented by the rap artist when he writes. The rap writing can be described as a biographical writing in which the subject (re)considers himself through the creation of lyrics and music as a matter of research. To explore the biographical dimension of the rap writing, this thesis strived to achieve the biography of the rap artist named Diam's by relying on the « Théorie des moments » of Remi Hess (2003) and by using as a unique base the lyrics of this artist which describe her stories of Life. This thesis underlines also the self-education process which is put in place during the rap writing. The different interviews of many rap artists necessary for the writing of this thesis show that rapping is a formative practice because it requires knowledge already acquired which develops as it is implemented. This thesis points out the social aspect of the rap music which contributes to the socialization of the artist and to the socialization of the listener. Conceived as an educational practice, this thesis studies the educational impact of the rap music on the listener. Thus, this thesis introduces the different types of self-development and of self-education through the rap artist by underlining the “hétérobiographie” (Delory-Momberger). Rap music appears as a social vehicle that would do the link between the institutions and young people. The rap artist becomes a youth worker transmitting values to the listeners and implementing measures easing the development of the young adult.

Este trabalho tem como objetivo analisar o rap a partir da perspectiva teórica da semiótica da canção, abordagem desenvolvida por Luiz Tatit em seus estudos desde a década de 1980. Amparado por princípios da semiótica francesa de Greimas e Zilberberg, o autor propõe ferramentas específicas de análise e define o verdadeiro trabalho artístico do compositor popular: a formação de unidades entoativas plausíveis a partir da combinação entre uma melodia e uma letra. No processo de estabilização sonora que o canto produz em contraposição à instabilidade da fala, três procedimentos de compatibilização entre o texto linguístico e a linha melódica estão presentes: a figurativização, a tematização e a passionalização. Estudaremos a linguagem do rap a partir desses três procedimentos, observando de que modo as questões históricas e o seu papel social atual se relacionam com a sua forma estética particular. / This research aims to analyse the genre of rap within the theoretical framework of semiotics of songs developed by Luiz Tatit since the 1980s. Based on principles of Greimass and Zilberbergs French semiotics, Tatit proposes specific theoretical tools to analyse songs and defines the artistic work scope of popular composer: to produce a credible relation between melody and lyric. According to him, through the process of sound stabilization that is produced by chant in opposition to the instability of speech, there are three possible compatibility procedures: figurativização, tematização, and passionalização. The genre of rap has been studied considering this analytics method and its social role and historical questions in relation to its particular aesthetical structure.

Este trabalho analisa as relações entre rap e consumo em São Paulo, com o propósito de entender a sua relevância na construção identitária individual e coletiva. A análise abrange tanto as perspectivas comunicacionais e midiáticas do gênero musical quanto as suas características expressivas, discursivas e sígnicas, com o objetivo de revelar como o rap se constitui enquanto linguagem cultural e consumível em diversos aspectos. Esta investigação discute as influências conjunturais de ampliação do consumo na base da pirâmide social sobre a produção cultural dos rappers da nova geração, caracterizada pela contiguidade entre o agenciamento do fenômeno fonográfico e o fenômeno marcário. Nesse cenário, os atores do rap paulistano passam a explora-lo como negócio por meio do empreendedorismo no campo da moda. O referencial teórico inicial privilegia os vínculos entre consumo e identidade, compreendendo as especificidades do consumo na pós-modernidade, o consumo cultural e as identidades pós-modernas. Em seguida, examinamos os fatores que contribuíram para que o rap ganhasse notoriedade e superasse o seu status de subcultura, baseados na trajetória artística do grupo Racionais Mc\'s. Com isso, destacamos o papel do rap na construção de uma nova narrativa por parte dos sujeitos periféricos, na sua maioria negros, na qual o consumo assume uma dimensão central. Percorrido esse trajeto, nos dedicamos ao estudo da empresa Laboratório Fantasma, de propriedade do rapper Emicida, a fim de entender como se configuram as conexões entre música e moda operadas pela marca LAB. Nessa tarefa, adotamos como objeto o desfile da coleção LAB Yasuke no São Paulo Fashion Week em 2016, cuja análise se divide em duas partes. A primeira averigua a construção de sentido a partir da música cantada pelo rapper no desfile à luz da semiótica greimasiana, enquanto a segunda apura o potencial comunicativo das peças da coleção pela semiótica peirciana. Assim, a pesquisa aponta a importância do rap em sua interface com a moda na transformação social, bem como na formação de novas estéticas de consumo entre grupos identitários, que refletem o atual reposicionamento do gênero musical na Indústria Cultural. / The present work is aimed at analysing the relation between rap and consumption in São Paulo with the main purpose of understanding its relevance in the construction of the identity of the individuals and the community. The analysis focus not only on the perspectives in communication and media, but also on the musical genre as well, as far as its characteristics of expression and and signs are cocerned, with the objective to reveal how rap is constituted as cultural language or expression subjected to be consumed in several aspects. This research discusses the structural influnces of spreading the consumption in the basis of the pyramid of society on the cultural production of rappers of the new generation, characterized by the proximity between the phonographic phenomenon agenda and the branding phenomenon. In this scenario, the rap performers in São Paulo are led to become entrepeneurs in the fashion business. The initial theorethical principles of reference favors the bonds between consumption and identity, understanding the specifications of the post-modern identities. Furthermore, it investigates the features that have contributed for the reason why rap has achieved notoriety and has overcome its status of underculture, based on the story of the group Racionais Mc\'s. By doing that it enlights the role of rap in the construction of a new narrative from the individuals who were brought up in the outskirts of the city, the majority afro american, to whom consumption assumes the status of a central dimension. Ater that analysis it studies the enterprise Laboratrio Fantasma, which is owned by the rapper Emicida, in order to comprehend how the connections between music and fashion are configured, carried out by the LAB brand. To achieve that task, this study adopted as its goal the fashion show of the LAB Yasuke collection in the São Paulo Fashion Week in 2016. This analysis consists of two parts: the first investigates the construction of sense in the lyrics of the rapper from the point of view of the the semiotics of Greimas, as the second enhances the communicative potential of the music production under the semiotics of Pierce. All in all, the research points out the importace of rap in its interface with fashion in the social transformation, as well as the formation of new consumption aesthetics among identity groups which reflect the current repositioning of the musical genre in the Cultural Industry.

Rakto apsikeitimo protokolo, kaip ir bet kurio asimetrinės kriptografijos algoritmo, pagrindas yra vienkryptės funkcijos, kurias paprasta apskaičiuoti, tačiau apskaičiuoti atvirkštinę jų reikšmę per priimtiną laiko tarpą neįmanoma. Darbe bus bandoma įrodyti, kad tiriamoji lygčių sistema turi mažai sprendinių ir yra tinkama kriptografiniams algoritmams. Iš pradžių tyrinėta atskiros lygties sprendinių aibė, paskui pereita prie lygčių sistemos sprendinių aibės. Sprendiniai ieškomi naudojant matricų perrinkima, tai pat pasitelkiant kitus metodus. Nustatyta, kad lygčių sistemos sprendinių skaičius, nepriklauso nuo matricos eilės m. / Key agreement protocol, as well as any asymmetric cryptographic algorithm, is based on one-way functions which are easy to calculate, but to calculate the inverse of their value within a reasonable period of time is impossible. The paper will attempt to prove that the system of equations has not much solutions ant that it could be used in cryptographic algorithm. At first individual equation was solved, set of solutions was found. Then moved explore to the set of solutions of equations system. Solutions were found using brute force algorithm for matrices. As well as through other methods. It was found that the number of solutions of equations system does not depend on the matrix size.

In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.

Thesis (M.A.)--York University, 2005. Graduate Programme in Musicology & Ethnomusicology. / Typescript. Includes bibliographical references (leaves 74-84). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11889

abstract: The trend towards using recycled materials on new construction projects is growing as the cost for construction materials are ever increasing and the awareness of the responsibility we have to be good stewards of our environment is heightened. While recycled asphalt is sometimes used in pavements, its use as structural fill has been hindered by concern that it is susceptible to large long-term deformations (creep), preventing its use for a great many geotechnical applications. While asphalt/soil blends are often proposed as an alternative to 100% recycled asphalt fill, little data is available characterizing the geotechnical properties of recycled asphalt soil blends. In this dissertation, the geotechnical properties for five different recycled asphalt soil blends are characterized. Data includes the particle size distribution, plasticity index, creep, and shear strength for each blend. Blends with 0%, 25%, 50%, 75% and 100% recycled asphalt were tested. As the recycled asphalt material used for testing had particles sizes up to 1.5 inches, a large 18 inch diameter direct shear apparatus was used to determine the shear strength and creep characteristics of the material. The results of the testing program confirm that the creep potential of recycled asphalt is a geotechnical concern when the material is subjected to loads greater than 1500 pounds per square foot (psf). In addition, the test results demonstrate that the amount of soil blended with the recycled asphalt can greatly influence the creep and shear strength behavior of the composite material. Furthermore, there appears to be an optimal blend ratio where the composite material had better properties than either the recycled asphalt or virgin soil alone with respect to shear strength. / Dissertation/Thesis / M.S. Civil Engineering 2011

Em nossa pesquisa intitulada O Rap Ecoa na Literatura Infantil, buscamos investigar diálogos que a literatura infantil e juvenil estabelece com outras formas de comunicação e outras artes, movimento que vem ocorrendo com intensidade e que concorre para modificações nesse universo literário, bem como, na imagem de seu interlocutor. Elaboramos um breve estudo por alguns caminhos percorridos historicamente pelos textos infantis, passamos por uma contextualização sobre a música, e os elementos que compõem a Cultura Hip-Hop e um de seus pilares o rap, posto que, selecionamos para objeto de estudo a obra Um Garoto Chamado Rorbeto, do rapper Gabriel Contino O Pensador. Buscamos evidenciar códigos literários e manifestações da cultura hip-hop compartilhados, as negociações entre os discursos sociais, o de denúncia característico do rap e o do poder instituído fortemente representado na obra; a partir disso, buscamos tangenciar possíveis imagens de criança e de infância que se fazem presentes em nossa contemporaneidade. / In our survey entitled The Rap Echoes in Children\'s Literature, we show the children\'s as well as youth\'s literature dialogues - in whose genesis there is a child picture- with other forms of communication and arts, movement that is happening with intensity and that contributes to changes in this literary universe, as well as the image of the speaker. We prepared a brief study through paths followed by some historical texts for children, we passed through a contextualization of the music, and the elements that make up the Hip-Hop Culture and one of its pillars - the rap in which the object of study selected for the work was A Boy Called Rorbeto, from the rapper Gabriel Contino - O Pensador (The Thinker). We show literary codes and shared literary manifestations of hip-hop culture, negotiations between the social discourse, the complaint - characteristic of rap - and the institutional power strongly represented in the work; from that point, we seek possible tangent child and childhood images that are present in the present.