This Master's thesis focuses on the history of the hip hop subculture and the character of rappers and female rappers. The aim of this thesis is to analyze chosen hip hop media in the Czech Republic and to determine what is visual, content and also linguistic characteristic of the chosen Czech hip hop media and further to determine the role of rappers and female rappers therein. The thesis is divided into two sections, this being theoretical and methodical section. The theoretical section firstly examines the history of the hip hop subculture from the global perspective and its evolution in the Czech Republic. The first part of the history section focuses on the main milestones of the hip hop subculture history with the prevailing orientation on music, hip hop media, and other channels of its distribution. In the chapter describing the evolution of hip hop in the Czech Republic the thesis focuses on the development of the music genre, the introduction of the significant interprets and connection of the context with the other aspects of distribution of the hip hop subculture into the mainstream. The following chapter in the theoretical section which explores the evolution of academic subculture studies, cultural studies, and post-subcultural approaches. The next chapter describes different types and...

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-06-02T12:43:54Z No. of bitstreams: 1 2013_EugeniaFranciscadeSouzaMiranda.pdf: 1896967 bytes, checksum: 70590a04820bf5ad8dd42e47a74ca95c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-06-04T14:10:21Z (GMT) No. of bitstreams: 1 2013_EugeniaFranciscadeSouzaMiranda.pdf: 1896967 bytes, checksum: 70590a04820bf5ad8dd42e47a74ca95c (MD5) / Made available in DSpace on 2014-06-04T14:10:21Z (GMT). No. of bitstreams: 1 2013_EugeniaFranciscadeSouzaMiranda.pdf: 1896967 bytes, checksum: 70590a04820bf5ad8dd42e47a74ca95c (MD5) / A periferia de Brasília tem voz. Ela ecoa na busca de soluções para seus problemas a partir da crítica da vida cotidiana através das rimas contundentes do rap. Um dos portadores dessa voz tem nome: GOG. Esta pesquisa tem como objetivo analisar literariamente as canções deste que é um dos rappers brasileiros mais respeitados e renomados nesse meio cultural, inclusive aclamado como o poeta do Rap Nacional. O trabalho tem como fonte principal as letras das canções selecionadas por ele em seu livro A rima denuncia, uma espécie de antologia com 48 letras de raps que abordam diversas fases do artista, além de vídeos e entrevistas disponibilizadas em seu site e outras fontes de pesquisa. A especificidade do rap como uma estética ímpar e inovadora (híbrido de canto com exploração da fala) nos permite identificar uma poesia oral contemporânea que narra com intensidade os infortúnios e os desejos dos que vivem em uma ambiência periférica. No entanto, um olhar cuidadoso às letras mostra que esse universo vai muito além da periferia, e as composições se opõem ao centro (a elite econômica) com um discurso ácido, quase sempre maniqueísta. As análises se pautam pelas teorias de Paul Zumthor sobre poesia oral, Luiz Tatit sobre canção popular, Umberto Eco sobre a interpretação da obra literária e Bakhtin, considerando a relação sócio-histórica e dialógica entre os sujeitos na constituição dos discursos. O intuito é demonstrar que a periferia também faz poesia. ______________________________________________________________________________________ ABSTRACT / The outskirt of Brasília has a voice. It echoes in the search for solutions to its problems from the criticism of everyday life through the rap's blunt rhymes. One of the bearers of this voice has a name: GOG. This research aims to analyze the songs literally from this which is one of the most respected and renowned Brazilian rappers in this cultural environment, including he is acclaimed as the poet of the National Rap. The work has as a main source the lyrics of the songs selected by him in his book The rhyme denounces, a sort of anthology with 48 letters of raps that address various phases of the artist, as well as videos and interviews available on his website and other sources. The specificity of the rap as a unique and innovative aesthetic (hybrid of singing with exploration of speech) allows us to identify a contemporary oral poetry that narrates with intensity the misfortunes and the desires of those who live in the outskirt ambience. However, a careful look at the lyrics shows that the universe goes far beyond the outskirt and the compositions are opposed to the center (the economic elite) with an acid speech, almost always manichean. The analyses are based on Paul Zumthor's theories on oral poetry, Luiz Tatit on popular song, Umberto Eco in the literary interpretation and Bakhtin considering the socio-historical and dialogic relationship between the subjects in the constitution of discourses. The intent is to demonstrate that the outskirt also writes poetry.

Made available in DSpace on 2018-08-01T23:44:00Z (GMT). No. of bitstreams: 1 tese_9874_dissertação WALLAS GOMES ZOTELI.pdf: 1032896 bytes, checksum: 9b9687f24c85122c75d510b98967b964 (MD5) Previous issue date: 2016-05-30 / Criolo autorrefere-se, com recorrência, como rapper/MC; trata-se da alcunha que, dentre outras atreladas a sua persona pública, melhor resgata e sublinha sua atuação no cenário do rap paulistano. Fundou a Rinha dos MCs, atuou na produção cinematográfica Profissão MC (2009), lançou o álbum independente de canções de rap Ainda Há Tempo (2006); e pontuam-se esses fatos a título de exemplo. No entanto, quando lança o álbum Nó na Orelha (2011), o que se ouve nas canções é um cuidadoso trabalho com melodias e dicções identificadas com outros gêneros musicais que não o rap, e isso se diz com maior ênfase em relação a cinco das dez faixas ali disponibilizadas; nelas, pretende-se investigar como o rap está inscrito e como o título de rapper mantém-se e atualiza-se. Articulam-se, como referencial teórico basilar, contribuições conceituais de Paul Zumthor (1993; 2010; 2014), Ruth Finnegan (2008), Simon Frith (1996), dentre outros. Assume-se a palavra cantada como objeto de estudos da performance, o que por seu turno torna-se passível de interesse em estudos literários; desse modo, conforme a abordagem zumthoriana, compreende-se canção no espectro abrangente da poesia oral, é tratada como obra e performance em meios auditivos, em sua complexa articulação na tríade textomúsica-performance, sem esquecer da voz e do reconhecimento de gênero nesses meandros. É do escopo desta dissertação defender que a persona conceito ancorado em Carl Jung (1981) e Marcel Mauss (2003) rapper de Criolo está inscrita não só nas cinco canções de rap, mas também nas outras cinco em aparência menos identificadas com tal gênero. Portanto, do corpus coligido da audição do álbum em questão, foca-se nas cinco obras reconhecidas aqui como canções não-rap: Bogotá; Não Existe Amor em SP; Freguês da Meia-noite; Samba Sambei; Linha de Frente. Nelas, busca-se sublinhar elementos performáticos, no âmbito da palavra cantada, que demarcam a inscrição da persona/atitude rapper em outras estéticas musicais. Coteja-se pontualmente o corpus em foco com obras de outros cancionistas representantes de variados estilos e gêneros musicais para elaborar explicitações mais contundentes para reforçar afirmações interpretativas registradas em cada uma das leituras apresentadas.

In diesem Aufsatz werden die Stilisierungen  des Türkendeutsch aus zwei Perspektiven untersucht. Es wird der Frage nachgegangen, wie Türkendeutsch als Ethnolekt von den Medien inszeniert wird und wie sich die Sprecher des Türkendeutsch selbst in den Medien darstellen. Mittels einer Textanalyse sind Hip-Hop-Texte und Texte der Satire variationslinguistisch untersucht worden, wobei die Rap-Texte mit einer Bildanalyse komplettiert wurden. Schließlich wird ein Vergeich der beiden Genres bezüglich primären Ethnolekt und medial-Sekundären Ethnolekt angestellt.

Senegal is a country in West Africa that is 95% Muslim and where Islam is deeply linked to hip-hop music. According to existing academic research, the emerging rappers in the artistic and cultural scene in Dakar are men and belong to the Sufi Taalibe Bay brotherhood, whose founder Ibrahim Niasse (1900-1975) is considered the spiritual leader of the rappers. Through the use of hip-hop, they communicate religious messages and attract many young people to Bay’s movement.This thesis presents for the first time a study concerning the musical material of a young Senegalese female artist belonging to this Sufi brotherhood, namely Aida Sock. Currently, no academic studies are acknowledging the presence of the female disciples of Bay and how they use hip-hop music as a means of spreading Sufi mystical Islam. This study aims to fill this academic gap through an interpretative analysis of the symbolism and religious message present in two of Aida Sock’s music videos: “Road to Redemption” and “The Highest”. The research also hopes to encourage othe racademics to look into this untouched topic further.

A motor-mouthed rapper with a perfect ear wants to turn a golden-voiced oddball into a music superstar but his popstar ex-lover threatens to blow up her meteoric rise.

Since its creation over two decades ago, French rap music has evolved to become both wildly popular and highly controversial. It has been the subject of legal debate because of its violent content, and accused of encouraging violent behavior. This thesis explores the French M.C.'s role as representative and reporter of the France's suburbs, la Banlieue, and contains analyses of French rap lyrics to determine the rappers' perception of Banlieue violence. Using the song lyrics, this work examines the conditions and causes of that violence as seen by the Banlieusard, and answers the critics' accusations that French rap is a call to violence.

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In the U.S., Black childhood has been underimagined. The representational vocabulary of Black childhood is fraught with dehumanizing and adultifying imagery and sounds—from representations of “Topsy” and “Black Sambo” to caricatures of pickaninnies and their many (re)iterations in U.S. popular culture. Popular music is one expressive domain wherein artists and audiences alike have contested and reinforced the peculiar adultification and infantilization that have long haunted Black American life. In the years surrounding the Trump presidency, numerous Black popular music artists made childhood a primary feature of their artistic output through vocal technique, lyrical content, merchandise, music videos, social media, and more. At the precise moment when white innocence was wielded most violently and obviously on the national stage, these artists challenged the assumed goodness and whiteness of innocence and its relation to childhood, performing capacious versions of free Black childhoods to various ends. This dissertation turns to the performance of childhood as a productive domain of inquiry and focuses on four artists/groups—Tank and the Bangas, Chance the Rapper, Jamila Woods, and Noname—all of whom chart a liberatory politics of Black childhood through sound. Through the poetics and aesthetics of their work, I theorize and historicize four interrelated, childhood-adjacent concepts: nostalgia, vulnerability, innocence, and freedom. Methodologically, I attempt to turn the tables on how vulnerability has normally been rendered in ethnographies. I blend (auto)ethnography about my own experiences as a white father of a multi-racial child with critical theory to analyze live and mediated performances of popular music. I look to music as a poetic and aesthetic space with which to not only grapple with the realities faced by Black children in the United States, but also to affirm Black childhood as a space of freedom, play, possibility, and joy. Ultimately, I make two interrelated assertions: (1) foregrounding Black childhood in our social analysis urges the necessity of abolition and (2) popular music is a primary conduit through which we can imagine an abolitionist future free of police, prisons, and the carceral logics that undergird their imagined necessity.