Orientador: Sirio Possenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T01:58:25Z (GMT). No. of bitstreams: 1 Motta_AnaRaquel_D.pdf: 4423477 bytes, checksum: 4b847a284d14d2b20821e1b99e6e316f (MD5) Previous issue date: 2009 / Resumo: Este trabalho parte da hipótese inicial de que a heterogeneidade enunciativa é uma marca importante no funcionamento das práticas discursivas do grupo de rap Racionais MCs, que constituem o corpus da pesquisa. Após análise preliminar, a hipótese inicial é deslocada para a análise das frases e expressões cristalizadas em língua (provérbios, máximas, citações bíblicas, expressões fixas, entre outros), considerada a característica predominante desse discurso. Para verificar esta nova hipótese, o primeiro capítulo propõe uma delimitação teórica do conceito de provérbio, partindo de teses clássicas do campo paremiológico, para reestabelecê-las em termos discursivos. O segundo capítulo organiza e analisa as ocorrências de provérbios e outras formas fixas no material gráfico e sonoro dos discos, CDs e DVD já lançados pelos Racionais MCs. O terceiro capítulo seleciona e interpreta as ocorrências de desautorizações das formas fixas no mesmo corpus. Por fim, o quarto capítulo postula que a enunciação aforizante, estruturante das e estruturada pelas formas já fixas em língua é a principal marca do funcionamento discursivo do corpus estudado. Essa enunciação engloba elementos prosódicos e o tom sentencioso das formas fixas em sua própria prosódia e tom sentencioso, produzindo novos efeitos de sentido e nova estruturação formal para os elementos fixos através de sua inserção integradora no co-texto enunciativo. Esse funcionamento enunciativo produz um efeito de enunciação coletivizada e de fortalecimento da comunidade discursiva, que incorpora e reproduz os enunciados do grupo. Nos anexos, estão transcritas as letras dos raps dos seis trabalhos já lançados pelos Racionais MCs, organizadas cronologicamente. / Abstract: This research has an initial hypothesis about enunciative heterogeneity being an important mark in the functioning of the discoursive practices of the Racionais MCs rap group, which constitute the corpus of the research. After a preliminary analysis, the initial hypothesis is dislocated toward the analysis of the phrases and expressions crystallized into language (proverbs, sayings, biblical citations, fixed expressions, among others), which are the predominant characteristic of this discourse. To verify this new hypothesis, the first chapter proposes a theoretical delimitation of the concept of proverb, stemming from classical theses of the paremiological field, to reestablish them in discoursive terms. The second chapter organizes and analyzes the occurrences of proverbs and other fixed forms in the graphic and sonorous material of the records, CDs and DVD that so far came from the Racionais MCs. The third chapter selects and interprets the occurrences when disauthorization of the fixed forms happens in the same corpus. The fourth chapter, finally, postulates that the aphorizing enunciation, structuring the forms that are already fixed in the language and structured by them, is the principal mark of the discoursive functioning of the corpus that was studied. Such enunciation encompasses prosodical elements and the judicious tone of the fixed forms in their own prosody and judicious tone, producing new effects in meaning and a new formal structuration for the fixed elements through their integrative insertion in the enunciative co-text. Such enunciative functioning produces an effect of collectivized enunciation and of strengthening of the discoursive community, which incorporates and reproduces the group's enunciations. In the annexes are found the lyrics of the raps from the six works already issued by the group, organized chronologically. / Doutorado / Linguistica / Doutor em Linguística

Orientador: Marcio Antonio Cataia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-22T17:23:44Z (GMT). No. of bitstreams: 1 Gomes_RenanLelis_M.pdf: 4755851 bytes, checksum: 51826c17290347dfd4f2551d7e2e01d6 (MD5) Previous issue date: 2012 / Resumo: Este texto apresenta algumas reflexões que objetivam discutir o hip-hop como uma manifestação territorial que assume particularidades regionais e que tem no rap uma das suas formas de existir. Este tipo de música, mesmo possuindo uma linguagem universal, assume características regionais distintas, utilizando-se cada vez mais dessa diversidade regional para criar sinergias capazes de projetar e de fazer ouvir suas reclamações. Assim, apropriando-se das técnicas do período atual, em um processo que vai da produção à distribuição das músicas, surgem rap's regionais criados a partir de elementos genuinamente brasileiros. O hip-hop, que abrange uma grande quantidade de jovens e tem profundas ligações com os lugares, torna-se ferramenta de solidariedade orgânica, haja vista que essa manifestação assumiu uma posição bastante relevante frente a questões urgentes relacionadas a segmentos sociais desfavorecidos e fez, também, com que membros de um movimento não-institucional passassem a participar da política formal, concorrendo a cargos públicos, participando de editais e da criação de leis / Abstract: This essay presents some reflections that aim to discuss the hip-hop as a territorial manifestation that assumes regional particularities which has in rap its forms of existence. This kind of music, even containing a universal language assumes distinct regional characteristics, using more and more this diversity to create regional synergies able to design and to give voice to their complaints. Thus, assuming the techniques of the current period, in a process that goes from the production to the distribution of music, regional raps arise created from genuine Brazilian elements. The hip-hop, that covers a big quantity of young people and has deep connection to the places, becomes a tool of organic solidarity, considering that this manifestation took a very relevant room in face of urgent issues related to disadvantaged social groups and also made members of a non-institutional movement start to participate in formal politics, including competing for public career, taking part in the creation of edicts and laws / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestre em Geografia

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Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. This thesis uses rap lyrics as qualitative data to understand the plight of urban black youth. Rap music can be seen as a form of resistance for young African Americans who have historically never had such a medium to express their lived experiences and frustrations with society. The rap performance becomes a stage where the powerless become powerful by using the microphone as a symbolic AK-47 and words as weapons in the form of symbolic hollow point cartridges. This Thesis examines the contemporary African American experience, its reflection in the lyrics of rap music, and its fascination with guns, violence and death. A key theme is while rap lyrics sometimes seem radical and frightening to the mainstream, they often express lines of analysis and understanding that have been widely discussed in conventional sociological literature

Through ethnography, I examine how hip-hop’s expressive forms are being used as the raw materials of everyday life by residents of the San Francisco Bay Area, home to what many regard as one of the most stylistically prolific, politically charged, and racially diverse hip-hop “scenes” in the world. This focus on regional specificity provides a greater understanding of the impact hip-hop is having on the ground, as an aspect of localized lived practice. Throughout, I make the case for the importance of ethnographically grounded localized research on U.S. hip-hop, which is surprisingly still relatively rare. Most scholars simply stress its continuity within a set of deterritorialized Diasporic African and African-American verbal-art traditions. My aim is not to contest this assertion, but to add to the body of knowledge about one of the most significant cultural inventions of the twentieth century by exploring hip-hop’s racial heterogeneity and its regional specificity. Acknowledging this kind of diversity allows us to reconceive what hip-hop is and how it matters in U.S. society beyond the ways it is usually framed: as either an oppositional form of black-vernacular culture or a co-opted and corrupted commodity form that reinscribes hegemonic values more than it actually contests them. Examining hip-hop within a specific, regionally delineated community reveals how hip-hop’s role in American life is more nuanced and complex. It is neither a pure vernacular expression of an oppressed class nor merely a cultural commodity imposed upon consumers and alienated from producers. In the Bay Area, hip-hop “heads” simultaneously consume mass-produced rap while producing homespun forms of music, dance, slang, fashion, and folklore. Through these forms, they construct individual and group identities that register primarily in expressive, affective terms. These novel cultural identities complicate rigid social markers of race, gender, and class; more specifically, they challenge the widely held perception that hip-hop is solely the terrain of inner-city young African-American men. More fundamentally, a sense of belonging is engendered through localized modes of expression and embodied style that manifest through shared practices, discourses, texts, symbols, locales, and imaginaries. / text

The present study sought to answer the following questions: Is there a correlation between time spent watching rap music videos and and perception of the imagery of women in rap music videos shown? 2) Is there a correlation between the perception of the imagery of women in rap music videos and their attitudes toward women? There were a total of 53 AAFA who participated in the study. The participants completed the Background Questionnaire and Attitude Toward Women Scale for Adolescents (AWSA). They then viewed approximately 10 minutes of rap music videos that portrayed women negatively, and completed the Opinions on Music Videos survey and the General Questions about Rap Music survey. The data were analyzed with two crosstabs matching time spent watching rap music videos per week with feelings about images of women in rap videos shown, and acceptance of images of women in rap videos shown. A t-test was used to compare AWSA scores and acceptance of images of women in rap music videos shown. A one-way ANOVA was used to compare AWSA scores and feelings about women in rap music videos shown. The results of the study suggest that the more time spent watching rap videos, the less likely the participants would accept the negative images of women in these videos as negative and vice versa. No relationship was found between time spent watching rap videos and feelings about the images portrayed. Regardless of the participant's AWSA score, it did not correlate with her perceptions of the images of women in rap music videos shown. Implications for research and practice were then discussed. / Department of Counseling Psychology and Guidance Services

The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged.

Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.

xviii, 510 p. : ill. (some col.) This work is licensed under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 License (United States). / This study analyzes the culture, history, and technology of the hip hop DJ in order to tease out the relationships between industrial and cultural practices. The following research questions structured the investigation: 1) What historical developments in intellectual property rights and music playback and delivery formats contribute to a political economy of the hip hop DJ; 2) what has been the role of intellectual property exchange and standardization in the DJ product industry relevant to hip hop DJs; 3) how are the meanings involved in the consumption of and production with analog and digital technologies related; and 4) does hip hop DJ culture represent convergence and collective intelligence? Employing various qualitative methods, the research includes interviews with influential hip hop DJs, executives at record labels, distributors, retailers, and DJ technology manufacturers. The study also reviews the histories of music playback technologies and standardization in relation to intellectual property laws. With political economic, cultural Marxism and new media theories as its framework, this study analyzes hip hop DJs as the intersection of corporate culture and youth culture. The research broadly addresses the hip hop DJ's role in building the industries that cater to hip hop DJing. Specifically, the study analyzes the politics of how hip hop DJs' intellectual properties and subcultural capital have been harnessed by companies in various industries as a way to authenticate, improve, and sell product. The study also examines consumption as production, collective intelligence, and how digital technologies are negotiated within this culture. The research suggests that hip hop DJ culture and the DJ technology and recording industries are not necessarily discrete entities that exert force upon one another. Rather, they are involved in a cultural economy governed by technocultural synergism, which is a complex interplay between agency and determinism guided by both corporate and cultural priorities. The study also offers a networked theory of innovation and creation over the individual genius emphasized in U.S. intellectual property laws to suggest that hip hop DJ culture is an open source culture. / Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Julianne Newton, Member; Dr. Biswarup Sen, Member; Dr. Daniel Wojcik, Outside Member

Orientador: Rita de Cassia Lahoz Morelli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T15:23:19Z (GMT). No. of bitstreams: 1 Sunega_FernandaAlves_M.pdf: 1198744 bytes, checksum: 05e2319aaf71dd5f21e0a9447eade0c0 (MD5) Previous issue date: 2008 / Resumo: De acordo com Néstor Garcia Canclini, em ¿Cidades e cidadãos imaginados pelos meios de comunicação¿, a sociedade está submetida a uma ¿urbanização que desurbaniza¿, onde os meios de comunicação atuam de maneira a criar vínculos entre os bairros, periferias e centro. Diante da heterogeneidade urbana, para este autor, a mídia apresenta um espetáculo reconfortante onde a população sente-se incluída nas mais diversas manifestações da cidade. Surge então a questão principal que será abordada neste trabalho: a rádio comunitária assume o papel das mídias, na definição de Canclini, estabelecendo um elo com a cidade ou reforça a localidade em que está inserida? A partir da pesquisa em rádio comunitária do Jardim das Bandeiras, periferia da cidade de Campinas, é possível analisar o fluxo de informações originado nessa territorialidade focalizando a experiência local de um programa de rap e seus atores sociais / Abstract: According to Néstor Garcia Canclini, in "Cities and citizens imagined by media", the society is submitted to a "urbanização que desurbaniza", where media acts in order to create links among districts, peripheries and downtown. Canclini believes that due to the urban heterogeneity, the media presents a reinvigorating show where the population is included in several city manifestations. Then appears the ultimate issue which will be treated in this work: does community radio take over the media¿s role, as defined by Canclini, establishing a link with the city or does it reinforce the place where it is inserted? Starting from the research in community radio of the Jardim das Bandeiras, periphery of the Campinas city, it is possible to analyze the information flow originated in that territoriality focusing the local experience of a rap program and their social actors / Mestrado / Antropologia Social / Mestre em Antropologia Social