L'entrepreneuriat rap définit-il une forme spécifique d'entrepreneuriat ? Non pas qu'il ne soit pas saisie d'opportunité, actualisation de traits, moyen d'avoir un emploi ou d'entreprendre soi. Mais il y a dans l'entrepreneuriat rap un imaginaire, des codes et pratiques, un sens à la pratique entrepreneuriale qui constitue une forme propre. Un récit autobiographique et de l'observation participante permettent de décrire de l'intérieur l'expérience d'être entrepreneur dans le rap, d'en comprendre le milieu, les épreuves, les manières, les valeurs. Nous suivons plusieurs tentatives entrepreneuriales et notamment la sortie d'un projet artistique.Entreprendre demande un long apprentissage du milieu, des manières d'être et le maintien notamment d'une street credibility. Pour que ces codes et manières prennent sens, nous nous tournons vers Castoriadis (1975), car il y a une imaginaire instituant particulièrement prégnant et partagé, celui de la naissance de la culture hip hop. Nous voyons ainsi l'importance de l'imaginaire dans l'entrepreneuriat, ce qui nous invite à réfléchir sur quel imaginaire instituant s'érige la société entrepreneuriale qui nous est prédite. Pourtant il serait réducteur de tout interpréter à l'aune d'un passé. Ce que le récit du terrain donne à penser est que l'entrepreneuriat rap apporte un style, une forme d'existence à laquelle les acteurs tiennent et s'y tiennent. Pensé comme un style, au sens fort que lui attribue Macé (2016), il définit un mode d'existence propre et qui est à comprendre et à prendre soin pour lui-même. Il est une distinction, définissant une manière d'être, digne et aimable. Il est aussi un chemin de formation, d'individuation. Il est une forme de vie, autrement dit un agencement de traits, la sédimentation d'une idée, d'une éthique, et imprègne de ce fait les relations à soi et au monde, une idée de la vie bonne (Ferrarese et Laugier, 2018).Ce que montre l'entrepreneuriat rap est que l'entrepreneuriat est une manière de vivre, un mode d'existence, un style auquel on tient parce qu'il permet de vivre dans une culture, selon une façon et des valeurs que l'on désire. L'entrepreneuriat fait partie de la culture hip hop et prend son sens à l'intérieur de cet univers. Aujourd'hui, la technologie numérique casse les codes et les manières. De nouvelles pratiques entrepreneuriales s'instituent à partir de l'imaginaire hip hop. Elles semblent de moins en moins spécifiques au secteur hip hop. Je me bats pour défendre mon style. D'autres préféreront regarder de nouvelles manières s'instaurer, mais seront-elles encore hip hop ? Donneront-elles encore l'envie d'y consacrer le tout de sa vie ? / Does rap entrepreneurship define a specific form of entrepreneurship? Not that it is not the seizure of opportunities, the actualisation of traits, the means to have an employment or to be entrepreneur of oneself. But there is in rap entrepreneurship an imaginary, codes and practices, a sense of entrepreneurial practice that constitutes a form of its own. An autobiographical account and participant observation allow us to describe from the inside the experience of being an entrepreneur in rap, to understand its environment, challenges, manners and values. We follow several entrepreneurial attempts and in particular the release of an artistic project.Entrepreneurship requires a long learning of the environment, ways of being and the maintenance of street credibility. For these codes and ways to make sense, we turn to Castoriadis (1975), because there is an imaginary that creates a particularly strong and shared identity, that of the birth of hiphop culture. We thus see the importance of the imaginary in entrepreneurship, which invites to reflect on which imaginary establishing the predicted entrepreneurial society. However, it would be simplistic to interpret everything in the light of a past. What the field narrative suggests is that rap entrepreneurship brings a style, a form of existence that actors value and stick to. Thought of as a style, in the strong sense attributed to it by Macé (2016), it defines a way of life of its own that is to be understood and cared for in itself. It is a distinction, defining a way of being, dignified and loveable. It is also a path of formation, of individuation. It is a form of life, in other words a combination of features, the sedimentation of an idea, an ethic, and thus permeates relationships to oneself and to the world, an idea of the good life (Ferrarese and Laugier, 2018).What rap entrepreneurship shows is that entrepreneurship is a way of life, a mode of existence, a style that we value because it allows us to live in a culture, according to a way and values that we desire. Entrepreneurship is part of the hiphop culture and makes sense within this universe. Today, digital technology is breaking codes and manners. New entrepreneurial practices are emerging from the hiphop imagination. They seem less and less specific to the hiphop sector. I fight to defend my style. Others may prefer to look at new ways to establish themselves, but will they still be hiphop? Will they still make you want to devote all of your life to it?

Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009. / Full text also available online. Scroll down for electronic link.

Thesis (M.A.)--Eastern Illinois University, 1996. / Includes bibliographical references (leaves 45-50).

Zugl.: Hildesheim, Univ., Diss., 2004

Thesis (Ph. D.)--Yale University, 1999. / Issued without accompanying CD-ROM. Includes bibliographical references (p.284-296).

The beta-gamma angular correlation for Sb¹²⁴ has been measured as a function of the beta particle energy in the range from 0.82 Mev to the end of the beta particle spectrum (2.4 Mev). As a beta particle spectrometer, use was made of a twelve channel kicksorter and a thick crystal beta particle scintillation counter. This was connected in coincidence with a gamma ray scintillation counter. Accordingly, the beta gamma coincidence counting rate W(θ,E), as a function of the angle θ between the counters, and the energy E of the beta particles, was observed. The differential angular correlation coefficient: a(E)=[formula omitted] was found to vary smoothly from -0.17 at 1.0 Mev to -0.44 at the end of the beta particle spectrum. When a(E) is integrated, numerically, over all beta particle energies greater than 0.82 Mev., the value of the integrated angular correlation coefficient a = -0.24 ± 0.02 was found. Direct measurements of the value of the integrated angular correlation coefficient were also performed, and the relation to the above value of a considered. An attempt has been made to interpret these results in terms of the angular momenta of the particles emitted, using the theory developed by Falkoff and Uhlenbeck. Experiments on the gamma-gamma angular correlation of Co⁶⁰ and Sc⁴⁶ performed with the same apparatus are in agreement with the previous results of other workers. / Science, Faculty of / Physics and Astronomy, Department of / Graduate

Zugl.: Hannover, Universiẗat, Diss., 2007.

Texte remanié de: Dissertation Ph. D.--Musicology--Bloomington--Indiana university, 2003. / Bibliogr. p. 169-177.

Thesis (M.A.)--Humboldt State University, 2009. / Includes bibliographical references (leaves 51-53). Also available via Humboldt Digital Scholar.

Thesis (Ph. D.)--Georgia State University, 2008. / Title from title page (Digital Archive@GSU, viewed June 10, 2010) Jennifer Esposito, committee chair; Jonathan Gayles, Richard Lakes, Carlos R. McCray, committee members. Includes bibliographical references (p. 201-228).