Jena, Univ., Diss., 2009.

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No description available.

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Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 135-143).

Thesis (M.A.)--Georgia State University, 2008. / Title from file title page. Mary Zeigler, committee chair; Marti Singer, Lynée Gaillet, committee members. Electronic text (113 [i.e. 112] p.) : digital, PDF file. Description based on contents viewed Oct. 1, 2008. Includes bibliographical references (p. 105-110).

Thesis (M.A.)--Eastern Illinois University, 1996. / Includes bibliographical references (leaves 37-42).

In social science, reality is too frequently conceived of from the point of view of European or American white men. I intend to examine the perceived realities and world-view of a marginalized oppressed group, the Rastafarians. The contemporary social movement literature focuses heavily on framing processes, how movement members portray their grievances to potential sympathizers. Reggae music is the most popular vehicle for the Rastafarians to disperse their world-view. This study explores how reggae music serves certain social movement functions for the Rastafarian movement. I seek to show that reggae music is indeed political and draws heavily from Rastafarian ideology. I will perform a content analysis of the lyrics of reggae music and identify the diagnostic, prognostic, and motivational framing used by the reggae artists. / Master of Science

The thesis deals with the language practices of French-speaking reggae singers. The work investigates how Jamaican musical inspiration came to the French scene, and which phonetic, morphosyntactic and especially lexical devices are found there. An inseparable object of research, equally undescribed, was the vernacular of francophone reggae fans. The empirical part investigates a random sample of French reggae (approx. 50 thousand words). The songs differ geographically, chronologically (1979-2010) and musically (roots, raggamuffin, dancehall). The research not only focuses on popular and colloquial French, slang, urban language, musical influence or poetry, but also on the coherence between themes and functions fulfilled by francophone reggae. A list of neologisms shows preferences in lexicogenic processes. Furthermore, the method includes a web survey answered by 189 French-speaking reggae fans, who represent the 'new speech' community. As a result, the hypothesis of a new vernacular, independent from rap, is confirmed. The specific hybridity is defined by code switching and more than a hundred English and Jamaican borrowings, which are commonly used by the fans.

This thesis explores the landscape of popular music culture in Accra as it is experienced by a loosely interactive group of young self-identified rastafarians. The global pop-culture idiom born of the Jamaican socio-religious movement of rastafari allows these young Accrans to articulate self-concepts vis-a-vis very current trends in local and foreign youth cultures (such as hiphop), with reference to an ostensibly ageless collective identity. Questions of authenticity are made complex by the movement's weighty historical and political roots, its nuanced symbolic bonds with "local African culture", and the semiotic plasticity of its identifying practices. Ethnographic portions of this thesis are based on three months of fieldwork in Accra, during the summer of 2004. Key theoretical points are gleaned from a critical examination of early British Cultural Studies and its theoretical progeny, including the body of recent work tentatively dubbed "post-subcultural studies".