Submitted by Rosangela Silva (rosangela.silva3@unioeste.br) on 2018-05-23T15:05:21Z No. of bitstreams: 2 Mayara dos Santos.pdf: 2174496 bytes, checksum: b3e94bdacc7f31d817a7a83207bd7d6e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-23T15:05:21Z (GMT). No. of bitstreams: 2 Mayara dos Santos.pdf: 2174496 bytes, checksum: b3e94bdacc7f31d817a7a83207bd7d6e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-26 / This paper analyzes teachers and high school student’s perception from state high schools of Cascavel-PR, Brazil, about the possible relations between education and youth cultures, most specifically using rap in the school context to avoid view indifference in learning and school dropout at this stage of education. Rap is the emerging musical genre of hip hop movement, and it is described in this research as a sign of identification among young people and an articulating element of tribes and youth cultures. Rap is also part of the socialization processes of the youth, being full with meanings that integrate the sharing of feelings through this symbolism, the music. It is known that the valuation of different forms of aggregation, having as principle the sharing of feelings, is one of the characteristics of postmodern societies. Postmodernity marks the period of valorization of heterogeneity, multiculturalism and the recognition of different forms of aggregation, and it has as principle the socialization of common interests linked to affective issues. Therein, understanding that postmodernity provided new insights, regarding youth and youth groups, this research implies a reflection on the school as a dynamic social environment, constituting a space of interchange between different tribes and youth cultures. In this way, this paper points out aspects that make it difficult and / or possible to diversify methodologies in classroom, taking as reference issues of daily life and, especially, youth cultures. We believe that this can be an efficient way to reduce rates of school dropout and disinterest in learning from high school students, considering that one of the biggest complaints of young people is the difficulty of establishing relations between content and everyday life. The research was carried out in two stages: bibliographical and field research. The bibliographical research deals with the study of authors who approach the subject of postmodernity, youth, youth cultures, urban tribes, as well as data analysis related to school dropout and lack of interest in learning about the theme of youth and their relationship with the school, establishing a panorama of the phenomenon in Brazil, Paraná state and the city of Cascavel. The field research includes the data collected from ten teachers and students interviews from two high schools in the city of Cascavel. The interviews questioned about youth, school dropout, learning interest and the use of rap in school. The analysis of the data is based on the assumptions of Phenomenology by Michel Maffesoli. It was possible, through this research, to perceive that the students, in general, point out that using rap as an educational instrument that is articulated to the curricular contents can be a means of fostering interest in learning. On the other hand, while most teachers claim that rap can actually be considered an educational tool used in class and contributes to students' interest in learning, just a few have actually used it to work as educational content. This leads us to understand that, although there is an understanding that rap is an educational tool and collaborates in the apprehension of the curricular contents and arouses the interest for learning, this ends up being more a discourse than in fact a practice, because the teachers do not use it as their pedagogical practice. / Esta dissertação tem como escopo analisar a percepção dos professores e alunos do ensino médio da rede pública estadual de ensino de Cascavel - PR, sobre as relações possíveis entre educação e culturas juvenis, mais especificamente, o uso do rap no contexto escolar, tendo em vista a questão do desinteresse pela aprendizagem e a evasão nessa etapa de ensino. O rap, gênero musical emergente do movimento hip hop, é designado na presente pesquisa como signo de identificação entre os jovens e elemento articulador de tribos e culturas juvenis. O rap também é parte dos processos de socialização da juventude, sendo dotado de significados que integram a partilha de sentimentos, mediados por esse simbolismo, que é a música. Sabe-se que a valorização de diferentes formas de agregação, tendo como princípio a partilha de sentimentos, é uma das características das sociedades pós-modernas. A pós-modernidade marca o período da valorização da heterogeneidade, do multiculturalismo e o reconhecimento de diferentes formas de agregação dos sujeitos, tendo como princípio a socialização de interesses comuns, ligados a questões afetivas. Nesse sentido, entendendo que a pós-modernidade propiciou novos olhares, no que se refere à juventude e aos agrupamentos juvenis, essa pesquisa implica uma reflexão sobre a escola, como ambiente social dinâmico, constituindo-se um espaço de intercâmbio entre diferentes tribos e culturas juvenis. Dessa forma, buscamos problematizar aspectos que dificultam e/ou possibilitam a diversificação de metodologias em sala de aula, tendo como referência questões do cotidiano e principalmente as culturas juvenis. Entendemos que essa possa ser uma maneira eficiente de minorar índices de evasão e desinteresse pela aprendizagem, em relação aos alunos do ensino médio, considerando que uma das maiores queixas dos jovens é a dificuldade de estabelecer relações entre o conteúdo e o cotidiano. A pesquisa foi realizada em dois momentos: pesquisa bibliográfica e pesquisa de campo. A pesquisa bibliográfica trata do estudo de autores que abordam a temática da pós-modernidade, juventude, culturas juvenis, tribos urbanas, bem como análise de dados relacionados à questão da evasão escolar e desinteresse pela aprendizagem, no que tange à temática da juventude e sua relação com a escola, estabelecendo um panorama do fenômeno no Brasil, Paraná e Cascavel. A pesquisa de campo compreende a coleta de dados, a partir da realização de entrevistas com dez professores e alunos, de duas escolas de ensino médio, da cidade de Cascavel. Nas entrevistas, foram levantadas questões referentes à juventude, evasão escolar, desinteresse e interesse pela aprendizagem, assim como sobre o uso do rap na escola. A análise dos dados tem como base os pressupostos da fenomenologia formista, de Michel Maffesoli. A partir dessa pesquisa, foi possível perceber que os alunos, em geral, apontam que utilizar o rap como um instrumento educativo, articulado aos conteúdos curriculares, pode ser um meio de propiciar o interesse pela aprendizagem. Em contrapartida, embora a maior parte dos professores afirme que o rap de fato possa ser considerado como um instrumento educativo, utilizado em sala, de forma a contribuir para o interesse dos alunos pela aprendizagem, poucos são aqueles que efetivamente já o utilizaram para trabalhar algum conteúdo. Isso nos leva a entender que, embora exista a compreensão de que o rap seja um instrumento educativo e colabore na apreensão dos conteúdos curriculares, despertando o interesse pela aprendizagem, isso acaba sendo mais um discurso do que de fato uma realidade, pois os professores não o utilizam em sua prática pedagógica.

Orientador: Laymert Garcia dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T13:20:05Z (GMT). No. of bitstreams: 1 Candotti_FabioMagalhaes_D.pdf: 1137203 bytes, checksum: 2b541e46a67573c5c4a5625049394b32 (MD5) Previous issue date: 2011 / Resumo: Nas ultimas décadas, no Brasil como em outros tantos países, pode-se notar uma importante expansão e intensificação de preocupações e de soluções relativas ao governo dos mais jovens, principalmente daqueles que entram nas estatísticas da pobreza. Em meio a tal acontecimento, ao menos um grande consenso ganhou forca e estabilidade, definindo um solo comum para controvérsias locais e globais. Trata-se da correspondência geral entre a dupla preocupação com a educação e com a socialização dos mais jovens e a dupla consideração das escolas e dos meios e programas culturais como soluções complementares entre si. Tomando por via de acesso pequenos e grandes acontecimentos da historia moderna, a tese se dedica a analisar esse consenso justamente como algo que toma forma por meio dessa relação entre problemas e soluções, ou seja, em função dos saberes e das técnicas que os definem. E na medida em que os saberes em questão são voltados ao governo de coletivos e relações humanas, a descrição desse consenso implica uma analise de sua articulação com certas relações de poder, com um mundo vivo de forcas que ele ajuda a ordenar mas que também o obrigam a ajustes imprevistos. Num primeiro momento, a tese descreve a maneira como um conjunto ou dispositivo técnico disciplinar opera a correspondência inicial entre um problema de educação e uma solução escolar. Em seguida, a analise se volta para a outra correspondência em questão, aquela entre um problema de socialização e uma solução cultural. Nesse caso, o conjunto técnico encontrado foi chamado de "participativo". Ao fim, e apresentada uma descrição do processo mais recente de generalização desse ultimo dispositivo como eixo político do consenso posto como ponto de partida / Abstract: In recent decades, in Brazil and many other countries, there is a significant growth and intensification of concerns and solutions for the government of young people, especially, those that hit the poverty statistics. In the midst of such an event, at least a broad consensus has gained strength and stability, defining a common ground for local and global controversies. This consensus is the general correspondence between, on one hand, the concerns about the education and socialization of young people and, on the other hand, the complementary solution of schools and cultural programs. Taking access by small and great events of modern history, the thesis is devoted to analyzing this consensus precisely as something that is built through this relationship between problems and concerns, namely, in terms of knowledge and techniques that define them. Considering that this knowledge and techniques are directed related to the government of people and human relations, the description of this consensus includes an analysis of their connections under certain power relationships with a living world that it helps to order, but also oblige unanticipated adjustments. In a first moment, the thesis describes how a set or disciplinary technical device operates the initial correspondence between the education as a problem and the school as a solution. After, the analysis turns to the other correspondence in question, the one between the socialization as a problem and the cultural programs as a solution. In this last case, the set or technical device was called "participatory". Finally, is presented a description of more recent process of generalization of the latter device as political axis of the consensus that we consider first / Doutorado / Sociologia / Doutor em Sociologia

Cette thèse appréhende les processus identitaires et les transformations socioculturelles en cours au travers de l’appropriation du rap au Gabon depuis la fin des années 1980, ainsi que l’enchevêtrement de ces productions de catégories identitaires avec des rapports de pouvoir campés dans le domaine des hiérarchies entre aînés et cadets, des relations de genre, des stratifications des réseaux de la musique, ou des rapports de force avec les autorités politiques. Une investigation dans les archives du Gabon éclaire d’abord la manière dont, tout en marquant des ruptures avec la génération précédente, les rappeurs se sont inscrits dans la continuité de plusieurs décennies de pratiques de musiques dans la ville et de dialogues transnationaux avec les productions culturelles en circulation dans l’espace Atlantique. Une deuxième partie se consacre à la description des relations de genre et de la construction de la masculinité, révélant l’agentivité développée par certaines femmes des mondes de la nuit et de la musique. Enfin, une troisième partie se focalise sur les revendications identitaires et idéologiques des rappeurs et sur les nationalismes qu’ils réinventent, dans des emboîtements entre l’ethnique, le national, le panafricanisme et le transnational. Elle traite des métamorphoses de la sorcellerie dans les réseaux du rap et de la world music africaine, du spectacle de la nation, et des mobilités transnationales au travers desquelles quelques rappeurs forment de nouvelles catégories identitaires hybrides. / This dissertation apprehends the identity processes and sociocultural changes taking place through the appropriation of rap music in Gabon since the end of the 80s, as well as the entanglement in power relations of those identity categories produced by young people, in the field of hierarchies between elders and youngers, of gender relations, of musical network stratifications, or towards the political authorities.An investigation in the archives of Gabon firstly highlights how, while marking ruptures with the previous generation, rappers were enrolled in the continuity of several decades of urban musical practices and transnational dialogues with some cultural productions circulating in the Atlantic space. A second part is devoted to the description of gender relations and to the construction of masculinity, revealing the agency developed by some women into the urban worlds of the night and of music. Finally, the third part focuses on rappers’ identity and ideological claims, and on the nationalisms they reinvent in negotiation between ethnic, national, transnational and panafrican levels. It deals with the transformations of witchcraft in rap music’s networks and in African world music market, with the spectacle of the nation and with transnational mobilities through which some rappers form new hybrid identity categories.

Orientador: Laymert Garcia dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T15:40:01Z (GMT). No. of bitstreams: 1 Sawaya_SilvioRicardo_M.pdf: 1004171 bytes, checksum: d1056768c80b8a466d3db6970bc0e089 (MD5) Previous issue date: 2011 / Resumo: Com o desmoronamento do socialismo real no final do século XX - cujos principais marcos foram a queda do Muro de Berlim e a débâcle soviética -, o mundo parece ter tomado novos rumos. Neste período, Francis Fukuyama e Robert Kurz desafiaram a esquerda mundial em seus livros O fim da história e o último homem e O colapso da Modernização, respectivamente, com a seguinte provocação: existe vida possível além da economia de mercado e da democracia liberal que não leve o mundo a uma derrocada catastrófica tal como a sofrida quando da existência do socialismo real? Muito mais do que um apressado "sim, de fato, existe", esta questão ainda está em aberto vinte anos após sua formulação. É neste contexto que esta pesquisa procura tratar de pensar o hip-hop como uma forma de construir o que Donna Haraway chama de postura de oposição, e isto tanto no que diz respeito aos seus militantes e intelectuais orgânicos quanto aos intelectuais acadêmicos das ciências humanas que sobre ele se debruçam. Esta mesma postura de oposição, se não traz uma resposta ao desafio lançado por Fukuyama e por Kurz, ao menos propõe encará-lo de frente, tendo-se, para isso, de levar bastante em consideração o que é essa união entre economia de mercado e democracia liberal e qual é o preço a ser pago ao se assumir a postura de confrontá-la / Abstract: After the collapse of real socialism at the end of the 20th century - whose main landmarks were the fall of the Berlin Wall and the soviet dèbâcle -, the world seems to have taken new directions. In this period, Francis Fukuyama and Robert Kurz have defied the World Left in their books The end of History and the last man and The collapse of Modernization, respectively, with the following provocation: is there possible life beyond the market economy and liberal democracy that doesn't take the world to a catastrophic collapse like that suffered during the existence of real socialism? Much more than a hasty "yes, in fact, there are", this issue is still open twenty years after its formulation. In this context, this research aims to deal with thinking about the hip-hop as a way to build what Donna Haraway points as oppositional posture, and this regards both to their militants and their organic intellectuals as to social scientists that study and work about hip-hop themes. This same oppositional posture, if does not brings a response to the challenge posed by Fukuyama and Kurz, the least proposes face it straightforward, and it having, for this reason, to take a long account of what is this union between the market economy and liberal democracy and what is the price to be paid for taking the position of confronting it / Mestrado / Sociologia / Mestre em Sociologia

No description available.

The historical nature of language contact between French and Arabic in Algeria has created a sociolinguistic situation in which French is permeated throughout Algerian society. The prevalence and use of spoken French in Algeria by native speakers of Spoken Algerian Arabic has been a topic of interest to researchers of codeswitching since the 1970s. Studies have been conducted on codeswitching in Algerian media such as television, radio, and music. The hip hop scene has been active in Algeria since the 1980s. Algerian hip hop lyrics contain a multitude of switches into French. This study explores the structural makeup of the codeswitching between French and Spoken Algerian Arabic in Algerian hip hop. These are pattern that have gone heretofore unstudied. The purpose of this study was to utilize Myers-Scotton's MLF and 4-M models in order to analyze the codeswitching between Spoken Algerian Arabic and French found in the lyrics to the hip hop album Kobay by popular Algerian hip hop artist Lotfi Double Kanon. This study had two goals: the first was to document the structural patterns of the codeswitching found in the data. The second goal was to test Myers-Scotton's models and determine whether the patterns found in the data could be predicted by the MLF and 4-M models. In order to accomplish these goals, the lyrics to the album were transcribed, translated, coded and analyzed at the level of the complementizer phrase. The principles of the MLF and 4-M models were used as central tool for analysis. This study demonstrates that the codeswitching found in the lyrics to Kobay follow the principles of the MLF and 4-M models to a great extent. However, three examples of problematic data are presented. This is followed by a discussion on the social and structural implications of these findings.

This study examines recurring motifs and personas in hip-hop. Interviews with influential hip-hop scholars, writers and music industry personnel were conducted and analyzed using qualitative methods. Interview subjects were selected based on their insider knowledge as music critics, hip-hop scholars, ethnomusicologists, publicists, and music industry positions. The vast majority of constructed imagery in hip-hop is based on a single persona, the gangsta. This qualitative analysis reveals why gangsta personas and motifs have become the de facto imagery of hip-hop. Gangsta imagery is repeatedly presented because it sells, it is the most readily-available role, and because of music industry pressures. This study is significant because gangsta imagery impacts African American social knowledge and the generalized perception of blackness. Gangsta imagery has also served to alienate black culture and has caused rifts in the African American community.

No description available.

This thesis explores the role of rap music as a platform for articulating anti-government discourse in Turkey between 2014 and 2019. Employing Critical Discourse Analysis (CDA) and Multimodal Critical Discourse Analysis (MCDA) to examine two specific rap songs from the period – Rant Hilafeti (The Caliphate of Profit) by Ozbi and #SUSAMAM (#ICANNOTBESILENT) by Şanışer and eighteen other artists –, the study delves into how the various commodities forming rap music – lyrics, visuals, and musical sounds – collaborate to construct and convey this counter-hegemonic narrative. The thesis posits that rap music gained prominence during this period as a powerful tool for dissent, owing to its ability to resonate with marginalised groups and challenge the dominant narratives propagated by the government. Leveraging CDA and MCDA methodologies, the analysis exposes how the songs utilise linguistic, musical, and visual strategies to critique government policies, challenge authority figures, and galvanise resistance among listeners. The findings underscore the significance of rap music as a form of political expression and its influence on public discourse. The analysis highlights rap's capacity to bridge individual experiences with broader societal issues, fostering a sense of collective identity and resistance among marginalised communities. By examining the specific case of rap music, the thesis contributes to a broader understanding of the nexus between music and social movements in the Turkish contemporary political landscapes.

Dissertation submitted in compliance with requirements for the Master Degree in Technology: Marketing, Durban University of Technology, 2010. / Hip-Hop culture has created a lot of interest and controversy around the world. Most people have used and engaged in debates without having a clear understanding of it. Although there are numerous articles to be found on Hip-Hop culture, very little research has been done on this particular topic. The confusion that surrounds Hip-Hop culture highlights the need for marketers to conduct more research on this particular area. This particular study was conducted within the South African marketplace, in four Durban areas using a quantitative research method. The sample for the study was supposed to consist of 400 hundred respondents, but only 350 respondents were selected using a convenience sampling. Respondents were required to complete a six paged questionnaire with the interviewer's assistance. The main objective of the research was to identify and analyze the marketing implications of Hip-Hop culture in the greater Durban area. The results revealed that 60% of the respondents are strongly committed to Hip-Hop culture and they are brand fanatics. Therefore, this seeks to say, that marketers need concentrate on promoting Hip-Hop products and services. And is the high time to know the Hip-Hop culture's needs and wants. / Lesotho Government (National Man-Power) ; Pebble Bed Modular Reactors ; National Research Foundation