abstract: Since the early 1980s spoken word has been on the rise as a highly influential performance art form. Concurrently, there has been an increase in literature on spoken word, which tends to focus on the critical performative and transformative potential of spoken word. These on-going discussions surrounding youth spoken word often fail to take into account the dynamic, relational, and transitional nature of power that constructs space and subjectivity in spoken word. This ethnographic study of one youth spoken word organization – Poetic Shift – in a southwestern urban area makes a conscious attempt to provide a nuanced, contradictory and partial analysis of space, place, and power in relation to youth spoken word and aspires to generate an understanding of how spaces designated for spoken word are dialectically (re)produced and maintain or subvert dominant relations of power through a constant stream of negotiations. This study aims to more explicitly examine the relationship between place and spoken word in effort to understand how one’s positionality impacts, and is impacted by, their involvement in youth spoken word. Over the course of a 6-month period participant observation was conducted at two high school spoken word workshops and four interviews were completed with both teaching artists and young adult spoken word poets. Using spatial and critical pedagogy frameworks, this study found that Poetic Shift serves as a platform for youth to engage in the performative process of narratively constructing and reconfiguring their identities. Poetic Shift’s ideological position that attributes value and validation to the voices and lived experiences of each youth is an explicit rejection of the dominant paradigm of knowing that relegates some voices to a culture of silence. The point at which the present study deviated from most other literature on spoken word is where it offers a critique of Poetic Shift as a site of critical literacy and of the unreflexive rhetoric of student empowerment. The problematic presuppositions within the call for youth voice and in the linear, overly simplistic curriculum of Poetic Shift tend to reinforce the dominant relations of power. / Dissertation/Thesis / Masters Thesis Justice Studies 2016

Three eye-tracking experiments were conducted to explore the effects of phonological, semantic and root activation in spoken word recognition (SWR) in Saudi Arabian Arabic. Arabic roots involve both phonological and semantic information, therefore, a series of three studies were conducted to isolate the effect of the root independently from phonological and semantic effects. Each experiment consisted of a series of trials. On each trial, participants were presented with a display with four images: a target, a competitor, and two unrelated images. Participants were asked to click on the target image. Participants' proportional fixations to the four areas of interest and their reaction times (RT) were automatically recorded and analyzed. The assumption is that eye movements to the different types of images and RTs reflect degrees of lexical activation. Experiment 1 served as a foundation study to explore the nature of phonological, semantic and root activation. Experiment 2A and 2B aimed to explore the effect of the Arabic root as a function of semantic transparency and phonological onset similarity. Growth Curve Analyses (Mirman, 2014, GCA;) were used to analyze differences in target and competitor fixations across conditions. Results of these experiments highlight the importance of phonological, semantic and root effects in SWR in Arabic. Fixations to competitors were graded and corresponded to the different amounts of phonological, semantic and morphological overlap between targets and competitors. The results of this work highlight the importance of the Arabic consonantal root as an independent processing unit in lexical access in SWR in Arabic that is separable from phonological and semantic units of processing. Finally, the results of this work provided support to models of SWR that feature both whole-word processing as well as morphological decomposition (e.g. Baayen, Dijkstra, & Schreuder, 1997; Giraudo & Grainger, 2000; Schreuder & Baayen, 1997). They also provide support to the morpheme-based theory of Arabic morphology (McCarthy, 1979, 1981).

The practical part of the thesis is an intimate and inner parent album, which is based on illustration of spoken word. It replaces the ordinary photo album, which is for a long time a social necessity of every young mother. During interviews with close friends of the author were created drawings that captures photographically „uncapturable“. They expressively displays completely new experience, which the mother has to go through for the very first time - mood swings, strange tastes, childbirth, but also the moment of conception. Work replaces the mentioned photo album and was formed as a family heirloom. Therefore, considerable attention has been paid to the external processing of the album.

Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participé. / This research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged.

Traditionellt sett har poesin varit talad, inte skriven, något som framförts på scen framför en publik. Den politiska användningen av estradpoesi är inget nytt påfund. Brukspoesi och tillfällespoesi i flera olika former har använts för att övertyga eller övertala publiken om olika samhällspolitiska frågor. Det retoriska talet har fått mycket uppmärksamhet för sin starka relation till politik, men hur fungerar det när talet är poesi? Denna uppsats vill fördjupa förståelsen av poesi som framförs på scen och hur den fungerar som en politisk handling. Detta görs genom att undersöka en specifik poesigenre: Poetry slam. Poetry slam är en tävling i estradpoesi som under de senaste trettio åren växt fram världen över, och många utnyttjar sin tid framför micken till att ta upp politiska åsikter eller personliga berättelser med en politisk agenda. Uppsatsen undersöker hur åtta olika poeter som tävlade i SM i Poetry slam 2019 använder sig av Poetry slam som en politisk plattform. Den undersöker på vilket sätt dikterna tar upp aktuella samhällspolitiska frågor, hur dessa frågor gestaltas samt hur olika strategiska manövreringar väcker identifikation hos publiken. Då dikterna måste vara skrivna av poeterna själva, men inte måste vara baserade på egna erfarenheter, blir det tydligt att poeterna genom dikterna konstruerar en identitet. Uppsatsen undersöker därför även hur detta används som ett medel för att övertyga eller övertala.

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Uppsatsen syftar till att undersöka Spoken Word som modern folkbildningstradition och hur detta upplevs hos poeter med anknytning till territoriellt stigmatiserade bostadsområden. Intervjustudien bearbetar Spoken Word-poeters upplevelser kring meningsskapande och splittrade habitus i förhållande till polariserade poetiska rum. Detta besvaras via två frågeställningar: 1. Anser sig Spoken Word-poeter ha ett folkbildande uppdrag? 2. Upplever poeterna att Spoken word är meningsfullt för samhället? Datan bygger på sex intervjuer med verksamma poeter som uppträder med sin poesi på scen. De teoretiska utgångspunkterna är Pierre Bourdieus teori om habitus, habitus clivé och W.E.B Du Bois teori om det dubbla medvetandet kompletterat med Sara Ahmeds vita hav. Detta för att se hur majoritetssamhället priviligierade position påverkar poeters identitetsskapande som representanter ur minoritetsbefolkningen. De teoretiska perspektiven bidrar till förståelsen för hur strukturer i samhället delar in poeten i olika rum baserat på individens socioekonomiska klassbakgrund. Studiens resultat visar att den individuella upplevelsen av ett splittrat habitus eller dubbelt medvetande är inneboende hos individen och påverkar självbilden när denne befinner sig i de vita haven. Detta leder till att homogena grupper reproducerar polariserade habitus, samtidigt som det kan innebära att habitus splittrar individen som i stället influerar denne att skapa möjligheter till förändring i samhället. Poeterna har en drivkraft i sitt textförfattande med ambition att förmedla en alternativ verklighetsbild som berättar något. På så vis kan Spoken Word utgöra en informell läroplan för samhället. Studiens bidrag till forskningsfältet består av en kultursociologisk intervjustudie som undersöker den icke-vita sidan av det poetiska rummet med röster från olika geografiska förorter i Sverige. Detta kan bidra till förståelsen hur individen på denna sida av rummet behöver arbeta i två parallella sfärer samtidigt. Den ena utgör samhällets syn på icke-vita där du behöver motbevisa negativa stereotyper och den andra grundas i dina personliga normer och värderingar från din kulturella bakgrund.

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