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Journal articles on the topic 'Rapper'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Balocco, Anna Elizabeth, and Maria Labarta Postigo. "Sujeito, discurso e vida urbana: um estudo contrastivo de discursos sobre a exclusão social no Brasil e na Espanha." Linguagem em (Dis)curso 9, no. 1 (April 2009): 11–34. http://dx.doi.org/10.1590/s1518-76322009000100002.

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Neste artigo, apresenta-se um estudo contrastivo de discursos sobre a exclusão social através da análise de videoclipes produzidos por mulheres rappers no Brasil e na Espanha, segundo princípios da Análise Crítica do Discurso e com foco na construção da identidade. A análise das práticas de identificação das rappers sugere que a alteridade se expressa de forma distinta nos dois discursos: enquanto o "outro" articula-se, no discurso da rapper brasileira, através de estratégias léxico-gramaticais de indeterminação ("essa gente") ou abstração ("a sociedade"), no da rapper espanhola há estratégias de funcionalização ("os políticos") e objetivização ("o dinheiro"). Ou seja, há mais indeterminação do "outro" no caso da rapper brasileira.

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2

Huntsman, Clarissa Daisy. "I, rapper robot." New Scientist 213, no. 2858 (March 2012): 31. http://dx.doi.org/10.1016/s0262-4079(12)60834-3.

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3

Lezama, Nigel. "Status, Votive Luxury, and Labour: The Female Rapper’s Delight." Fashion Studies 1, no. 2 (2019): 1–23. http://dx.doi.org/10.38055/fs010202.

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Rap and luxury fashion form hip hop’s most unshakable couple. However, female rappers appear to have a more difficult time acquiring and manipulating luxury fashion. When the female rapper demands expensive clothing from her sex partners, is she complicit in her reification as a sexually alienated subject or is she highlighting the value of black women’s labour? In fact, if we look closely at the nexus of luxury fashion, sexuality, and female rappers, there occurs an important transformation of the luxury sign. For rappers like Roxanne Shanté, Nicki Minaj, and Cardi B, luxury objects and branded fashion are not symbols of taste or habitus, in the sense Bourdieu (1979) gives them. Instead, these female rappers question the social weight carried by the luxury commodity; they demand consecration, in the truest sense of the word, through the luxury gift; or, conversely, they highlight the luxury commodity’s real use value.

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4

Burnet, N. G., R. M. Elliott, A. Dunning, and C. M. L. West. "Radiosensitivity, Radiogenomics and RAPPER." Clinical Oncology 18, no. 7 (September 2006): 525–28. http://dx.doi.org/10.1016/j.clon.2006.05.007.

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5

Elliott, R. M., N. G. Burnet, A. M. Dunning, D. P. Dearnaley, C. E. Coles, and C. M. L. West. "Radiosensitivity, Radiogenomics & RAPPER." Clinical Oncology 19, no. 3 (April 2007): S15. http://dx.doi.org/10.1016/j.clon.2007.01.322.

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6

Nowak, Andrzej, and Mirosław Kurz. "Analysis of the load capacity of the bolt joints of collecting electrodes with the rapper rod." E3S Web of Conferences 46 (2018): 00004. http://dx.doi.org/10.1051/e3sconf/20184600004.

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This article presents an analysis of the load capacity of the bolt joints of collecting electrodes with the rapper rod, made in HUCK technology. A discrete model of the system of electrodes was worked out for the analysis of stresses in bolt joints, the validation of which was made on the basis of measurement data obtained on the test bench. Two variants of joining the plates of electrodes with the rapper rod were taken into account in calculations - the first one with the correct geometry in the rapper rod, the other one with an eccentric displacement of holes in the flat bars of the rapper rod. In both variants the modelled system was loaded with the impulse force corresponding to the impact of the hammer against the anvil, with the run obtained from measurements on the test bench. These models and the related calculations were performed in the ABAQUS environment. As a result of the analyses performed, recommendations were worked out intended to eliminate cases of the destruction of bolt joints closest to the anvil of the rapper rod.

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7

Luis, Solange E. "A PM 44, o microfone, a nação angolana e a voz feminina." Revista Vértices 24, no. 1 (April 4, 2022): 44–68. http://dx.doi.org/10.19180/1809-2667.v24n12022p44-68.

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Uma vez conquistado o lugar da nação, a mulher procura o seu lugar na nação. Estas posições serão retratadas através da voz de Deolinda Rodrigues, guerrilheira do maquis e de Eva Rap Diva, rapper angolana. Enquanto a guerrilheira, na luta pela conquista do lugar da nação, silencia a sua voz num diário em prol de uma libertação coletiva, a rapper projecta-a com o microfone, marcando o seu lugar na nação. Ao causar interrupções no discurso dominante, a rapper possibilita novas construções identitárias na nação angolana, que se quer continuamente independente de restritivas amarras engendradas.

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8

Campos, Felícia Marchi Beltrão. "O rap palestino do grupo DAM: identidade e espaços do não-lugar." Gavagai - Revista Interdisciplinar de Humanidades 1, no. 2 (December 8, 2014): 88–97. http://dx.doi.org/10.36661/2358-0666.2014n2.8910.

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O presente estudo foi desenvolvido focando nas perspectivas de jovens rappers palestinos, via sua produção artística, acerca dos conflitos na Palestina Histórica. O rap palestino produzido pelo grupo DAM, baseado na cidade de Lyd, atualmente território israelense, versa sobre as violências perpetradas nos espaços por onde transitam e onde vivem esses jovens, marcados por identidades múltiplas. Foram utilizadas como base para a análise as letras das músicas do grupo, bem como uma entrevista com rapper Tamer Nafar, efetuada em junho de 2013 pela autora do trabalho. Tais materiais – letras das músicas e entrevista – foram analisados sob uma perspectiva textual. Foram levantadas as temáticas mais recorrentes nas canções dos rappers, cujas letras apontam, além das hostilidades cometidas pelo Estado de Israel, que ocupa militarmente a região desde 1948, situações e problemas internos à sociedade palestina. Ao final, a análise entende que os jovens do DAM inauguram novos espaços de diálogo, partindo de sua própria existência mista como palestino-israelenses.

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9

Martignetti, Frank, and Joshua M. Brewster. "Finding our way: The experiences of a rapper and his advisor in a bachelor of music programme." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 61–79. http://dx.doi.org/10.1386/jpme_00014_1.

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Aspiring popular musicians, particularly rappers, often feel unwelcome in tertiary music study. While hip hop has entered the academy through other fields, it is still mostly absent from music departments. In 2014, a rapper began studies in a small, open Bachelor of Music programme that had no coursework or specialists in this area. His course of study ultimately looked somewhat similar to other students’ but also included a blend of coursework in music technology, poetry, literature, communications and business. This action research study examines the student’s experience and perspectives as he prepared to graduate in May 2018, as well as the researcher’s experience and perspectives as his advisor and teacher. It is hoped that this study will enable institutions to better serve future such students.

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10

Pycha, Anne. "How to Rhyme Like a Rapper." Scientific American Mind 26, no. 6 (October 15, 2015): 9. http://dx.doi.org/10.1038/scientificamericanmind1115-9b.

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11

Urlaub, Per, and Joseph Kautz. "The Stanford Non-Native Rapper Contest." IALLT Journal of Language Learning Technologies 41, no. 2 (October 15, 2011): 89–102. http://dx.doi.org/10.17161/iallt.v41i2.8497.

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The Stanford Non-Native Rapper Contest is an annual event organized bythe Digital Language Lab at Stanford University. Every year, languageinstructors encourage undergraduate learners to engage in a creativeproject: learners receive the opportunity to compose rap music, writelyrics in the target language, produce videos, and share their clips via aYouTube channel. The response from undergraduate students has beenpositive: since the contest’s inception in 2008, almost 50 learners of worldlanguages and of less-commonly taught languages have participated, andtheir clips have been viewed by more than 30,000 internet users in lessthan three years. The first part of this article describes the evolution of theproject and outlines the roles of the language lab facilities and its staffmembers in organizing this collaborative learning environment. Thesecond part of the article will contextualize Stanford’s Non-Native RapperContest within current theoretical debates that relate to the acquisition oftranscultural competences and to alternative assessment in collegiatelanguage learning environments.

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12

Burnet, N. G., G. C. Barnett, R. M. Elliott, D. P. Dearnaley, P. D. P. Pharoah, A. M. Dunning, and C. M. L. West. "RAPPER: The Radiogenomics of Radiation Toxicity." Clinical Oncology 25, no. 7 (July 2013): 431–34. http://dx.doi.org/10.1016/j.clon.2013.04.001.

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13

Becker, Jessica. "Die Rapper mischen den LEH auf." Lebensmittel Zeitung 73, no. 10 (2021): 50–51. http://dx.doi.org/10.51202/0947-7527-2021-10-050.

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14

De Blasio, Emanuela. "Female rap in Arab countries. The case of Mayam Mahmoud." Miscelánea de Estudios Árabes y Hebraicos. Sección Árabe-Islam 71 (January 19, 2022): 85–108. http://dx.doi.org/10.30827/meaharabe.v71.21485.

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Female rappers in the Arab world have increased in both number and prominence in recent years. Yet, while there is extensive bibliography on female rap in the Western world, few studies have examined female rap in the Arab world. This paper represents a preliminary approach to this phenomenon, offering a general overview of the fe- male rappers in various Arab countries and the different issues they address. The paper then goes on to analyze a corpus consisting of the texts of the young Egyptian rapper Mayam Mahmoud, who has become internationally famous, highlighting linguistic aspects as well as the themes. The topics preferred by female Arab rappers include political problems in their country and social themes such as the situation of women, their day-to-day reality, the struggle against sexism and solidarity among women. The language used is direct, straightforward and free of social conventions. These aspects are in line with “conscious” rap created by women around the world. Rap music has become a vehicle through which women seek to secure a share of the power, affirm their choices and build alternative visions of their identity.

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De Blasio, Emanuela. "Language and style of the contemporary poet El Rass: a peculiar artist in the Lebanese musical scenario." Anaquel de Estudios Árabes 32 (May 25, 2021): 117–40. http://dx.doi.org/10.5209/anqe.73651.

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This research focuses on the linguistic analysis of texts taken from the production of the Lebanese rapper El Rass. After an excursus on the underground musical scenario in Lebanon, the work focuses on the language, themes and style of El Rass, the artist who gave birth to a new type of rap. His songs are characterized not only by rhyme, but also by a refined language, by cultural and social references and by a strong link with the Arab cultural tradition. The author favors Arabic, to the detriment of French or English, drawing on both the high register (Standard Arabic) and the low register (Lebanese Arabic) of the language. El Rass stands out, in style and language, from most of the Lebanese rappers and constitutes a particularly interesting case study.

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16

Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>

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17

Tarasenkova, N. A., and M. I. Burda. "Competence rapper of a modern geometry textbook." Science and Education a New Dimension VII(203), no. 83 (September 25, 2019): 40–43. http://dx.doi.org/10.31174/send-pp2019-203vii83-09.

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18

Tijé-Dra, Andreas. "Rapper vs. Polizei? Zu einem ,französischen Verhältnisʼ." sub\urban. zeitschrift für kritische stadtforschung 2, no. 2 (October 31, 2014): 131–36. http://dx.doi.org/10.36900/suburban.v2i2.143.

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Der französischen Rap-Musik und ihren Protagonisten wird seit nunmehr fast 20 Jahren vorgeworfen, in ihrer Rolle als 'Repräsentanten' marginalisierter Jugendlicher einer 'Krise der Vorstädte' Vorschub zu leisten. Mit ihren Praktiken würden sie besonders Feindseligkeiten gegenüber den staatlichen Sicherheitskräften fördern und somit zu Unsicherheit und Aufständen in den stigmatisierten Banlieues beitragen. Inzwischen leiten das Innenministerium oder die Polizeigewerkschaften regelmäßig Strafverfahren gegen einzelne Künstler ein. Die Rapper wiederum rechtfertigen ihre Kritik an der Polizei mit einem Verweis auf die zahlreichen unaufgeklärten Todesfälle im Zuge der massenhaften Polizeikontrollen und -einsätze in den Banlieues, den unter Sicherheitskräften vorherrschenden Rassismus und den damit einhergehenden Demütigungen. Im Beitrag wird die These aufgestellt, dass dieser Konflikt vor allem auf das strukturelle Problem einer fragmentierten Gesellschaft und einer seit inzwischen mehr als 30 Jahren schwelenden urbanen Krise zurückzuführen ist, in denen beide Fraktionen jeweils für gegensätzliche Positionen stehen.

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19

Hoyt, Daniel A. "The Best White Rapper in Berea, Ohio." Iowa Review 45, no. 1 (March 2015): 41–59. http://dx.doi.org/10.17077/0021-065x.7573.

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20

Way, Niobe, María G. Hernández, Leoandra Onnie Rogers, and Diane L. Hughes. "“I’m Not Going to Become No Rapper”." Journal of Adolescent Research 28, no. 4 (April 2, 2013): 407–30. http://dx.doi.org/10.1177/0743558413480836.

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21

Mitchell, Tony. "The Maori Teachings of Pakeha Rapper Maitreya." Sites: a journal of social anthropology and cultural studies 11, no. 2 (October 28, 2014): 103. http://dx.doi.org/10.11157/sites-vol11iss2id260.

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22

QUINN, EITHNE. "“Who's The Mack?”: The Performativity and Politics of the Pimp Figure in Gangsta Rap." Journal of American Studies 34, no. 1 (April 2000): 115–36. http://dx.doi.org/10.1017/s0021875899006295.

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Mack: pimp; talk someone into something“Pimptionary,” Ice-TMack man: Short for Mackerel man, a pimp. Possibly from the French maquereau. Connotes the working side of pimping, especially the line, the “rap,” the psychological game.“Pimp Talk,” Christina and Richard MilnerMack, as these definitions attest, is synonymous with pimp and is so deployed in gangsta rap as both noun and verb. From this denotative meaning, the term has assumed secondary meanings: to persuade, or as Ice-T says “to talk someone into.” The mack comes to mean the persuader, the trickster, the rapper. This semantic shift strikes at the centre of the equivalencies between rap artist and pimp. As music critic S. H. Fernando asserts, “the one specific quality that pimps and rappers share is their way with words.” If broad parallels can be drawn between pimping and rapping, what is distinctive about the notorious and highly successful subgenre of gangsta rap, which emerged in late-1980s urban California, is that here this equivalence is literalized. Many gangsta rappers actually assume pimp personae, presenting oral narratives which fulfil both denotative and connotative meanings of the word mack.

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Loureiro-Rodríguez, Verónica. "Y yo soy cubano, and I’m impatient." Spanish in Context 14, no. 2 (October 6, 2017): 250–72. http://dx.doi.org/10.1075/sic.14.2.05lou.

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Abstract This article examines Cuban-American rapper Pitbull’s use of Spanish in his seven English albums, drawing from the literature on lyrical code-switching and Sarkar and Winer’s (2006) socio-pragmatic framework for the analysis of multilingual code-switching in Quebec rap. It was found that Pitbull’s highest rates of Spanish language use appear in songs with hegemonic masculinity as main topic, and that Spanish switches are used mostly for emphasis/translation, and for enacting a hypersexual, hypermasculine identity consistent with rap and reggaeton expectations of masculinity. Pitbull’s use of Spanish legitimizes Latinos’ code-switching practices and allows him to articulate a bilingual/bicultural Latino rapper identity, but also perpetuates stereotypes that link Spanish and Spanish-speaking men to sex and sexuality.

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Jackson, Lauren Michele. "The rapper laughs, herself: Nicki Minaj’s sonic disturbances." Feminist Media Studies 17, no. 1 (December 9, 2016): 126–29. http://dx.doi.org/10.1080/14680777.2017.1261467.

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VERSTEGEN, IAN. "Eminem and the Tragedy of the White Rapper." Journal of Popular Culture 44, no. 4 (August 2011): 872–89. http://dx.doi.org/10.1111/j.1540-5931.2011.00867.x.

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26

Sapountzis, Ionas. "The Scarred Rapper and the Poems of Always." Psychoanalytic Perspectives 4, no. 1 (October 2006): 147–66. http://dx.doi.org/10.1080/1551806x.2006.10472984.

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27

Oliveira, Luiza Monteiro de Barros, and Lucia Teixeira. "Ressignificar o espaço – estratégias discursivas na cultura afro-americana contemporânea." Revista do GEL 16, no. 3 (December 31, 2019): 226–45. http://dx.doi.org/10.21165/gel.v16i3.2752.

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Ainda pouco estudada, a aspectualização do espaço é um elemento de análise previsto dentro da teoria semiótica francesa que pode ser de grande valia ao analista que busca compreender a construção de sentido em textos audiovisuais. O presente artigo busca fazer avançar a pesquisa sobre como a aspectualização espacial opera, por meio da análise de duas obras audiovisuais contemporâneas que compartilham semelhança temática: os videoclipes de Apes**t, de The Carters (como assinam a cantora Beyoncé e o rapper Jay-Z em um projeto musical feito em dupla) e This is America, de Childish Gambino (rapper e ator também conhecido como Donald Glover). Apesar de ambos serem produzidos por artistas norte-americanos que tratam da questão racial em seus discursos, os dois textos audiovisuais empregam estratégias distintas em sua enunciação, que o presente artigo busca detalhar e compreender.

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28

MCNALLY, JAMES. "Azealia Banks's “212”: Black Female Identity and the White Gaze in Contemporary Hip-Hop." Journal of the Society for American Music 10, no. 1 (February 2016): 54–81. http://dx.doi.org/10.1017/s1752196315000541.

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AbstractAzealia Banks's 2011 hit single “212” established her as one of hip-hop's rising stars, with critics highlighting the song's provocative lyrics and Banks's ability as an MC as standout qualities. Banks would later receive attention for her public dispute with white rapper Iggy Azalea, whom she accused of exploiting black musical culture. This article integrates an analysis of “212” with a discussion of Banks's recent public rhetoric in order to examine the ways in which Banks rearticulates the figure of the black female rapper and criticizes white fascination with black female sexuality and black cultural forms. I conclude by situating this discussion within the broader context of contemporary “post-racial” politics, in which the political elements of hip-hop and the systemic racial inequalities they address have become increasingly marginalized in favor of “color-blind” conceptions of United States society and popular culture.

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Marques, Estevão. "Conexão central (Som)." Em Tese 20, no. 2 (August 31, 2014): 281. http://dx.doi.org/10.17851/1982-0739.20.2.281-289.

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Estevão Marques lançou, em 2014, o cd solo Conexão central com oito faixas, que conta com a participação de beatmakers de diferentes partes do Brasil. Apresentamos quatro delas: “O que fazer?”, “Derrubando reis”, “Pesadão” e “Para os que duvidaram”, todas compostas pelo rapper.

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Burnet, N. G., G. C. Barnett, H. R. Summersgill, A. M. Dunning, and C. M. L. West. "RAPPER — A Success Story for Collaborative Translational Radiotherapy Research." Clinical Oncology 31, no. 7 (July 2019): 416–19. http://dx.doi.org/10.1016/j.clon.2019.04.013.

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31

Tockgo, Hyun. "A Study on Amiri Baraka as a Political Rapper." Academic Association of Global Cultural Contents 43 (May 30, 2020): 43–64. http://dx.doi.org/10.32611/jgcc.2020.5.43.43.

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32

Moreira, Tatiana Aparecida. "Cultura: entre a arena de luta e o movimento Hip Hop." Revista FAMECOS 25, no. 2 (April 7, 2018): 27498. http://dx.doi.org/10.15448/1980-3729.2018.2.27498.

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Neste texto, vamos discutir o conceito de cultura a partir dos estudos de Stuart Hall (1989, 2001, 2003, 2004)a fim de evidenciar o caráter plural e, também, político de cultura e de modo a contextualizar o Movimento Hip Hop e seus elementos (MC/rapper, DJ, grafite, break) como culturais e ocupantes, sobretudo, do espaço urbano e da periferia, principalmente, no cenário brasileiro. Além do suporte teórico de Hall, também dialogaremos com outros autores, tais como Foucault (2014, 1995), Gonçalves (2010), Queiroz (2005), Bakhtin (2003), Kellner (2001), Shusterman (1998) e Silva (1998), que trazem contribuições importantes que nos possibilitam evidenciar o Hip Hop como cultura plural. Dos elementos do Hip Hop, daremos destaque à figura do MC (Mestre de Cerimônia) ou rapper por ser o responsável, em parceria com o DJ, pela produção e por cantar os raps, em cujas letras, comumente, são observados questionamentos e críticas a diversos segmentos da sociedade. Assim, trazemos algumas letras de raps para ilustrar a discussão.

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33

Salime, Zakia. "“I Vote I Sing”: The Rise of Aesthetic Citizenship in Morocco." International Journal of Middle East Studies 47, no. 1 (February 2015): 136–39. http://dx.doi.org/10.1017/s0020743814001494.

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“We are all enraged. Why don't you arrest us?” chanted protestors in the courtroom during the trial of El-Haqed (the enraged), a twenty-four-year-old rapper from Casablanca. El-Haqed is an active member of the 20 February movement (Feb20), which extended the 2011 North African uprisings to Morocco. Many believe that the civil charges brought several times against him are related to his political activism with Feb20 and his daring lyrics. El-Haqed's song “Long Live the People” is thought to be behind his first arrest because it disrupts the phrase “Long Live the King.” In June 2014, El-Haqed was sentenced to prison for the first time for a period of four months. While attending a sports match, he was arrested on charges of selling tickets on the black market. His multiple arrests, and Feb20 members’ sustained mobilizations against them, reveal that the rapper is not only an iconic figure for youth protesters, but also one of their greatest rallying forces.

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Harrison, C. Keith, Rhema Fuller, Whitney Griffin, Scott Bukstein, Danielle McArdle, and Steven Barnhart. "My Ambitionz az a Qualitative Ridah1: A 2PAC Analysis of the Black Male Baller in Amerikkka2." Sociology of Sport Journal 37, no. 3 (September 1, 2020): 207–19. http://dx.doi.org/10.1123/ssj.2020-0019.

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The purpose of this paper is to contextualize and analyze the lyrics of Tupac Shakur by using the research methodological approach of concatenation to merge hip-hop and sport so that the qualitative data from these songs might serve as a cultural map to constructs of identity, race, social class, and black masculinity in the context of sport and the black male athlete experience in America. Applying critical race theory and White’s framework of black masculinity and the politics of racial performance, a connection is made with themes of the artists’ (rapper) social commentary and the athlete (baller). The themes from Tupac Shakur’s lyrics are follows: (a) Trapped, (b) Against the World, (c) The Streetz R Death, and (d) Ambitionz. Synergy with the rapper and baller are articulated, as well as implications for scholars and practitioners that work with high school, collegiate, and professional black male athletes, along with other men of color.

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Syamsuri, Tresna Umar, Sigi Syah Wibowo, and Agastya Rezha Perdana. "Studi Kehandalan Electrostatic Precipitator (ESP) di Dept Utility PT Easterntex menggunakan Reliability Centered Maintenance (RCM)." ELPOSYS: Jurnal Sistem Kelistrikan 6, no. 3 (April 5, 2022): 139–44. http://dx.doi.org/10.33795/elposys.v6i3.129.

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PT EASTERNTEX merupakan salah satu perusahaan yang memiliki plant PLTU pribadi. hal ini tentu menyebabkan pencemaran udara yang tidak sedikit,oleh karena itu peran Electrostatic Precipitator (ESP) sangatlah penting dalam mengurangi dampak dari limbah PLTU tersebut. Tujuan dari studi dengan metode Reliability Centered Maintenance (RCM) ini adalah menemukan sumber masalah dengan cara analisa terpusat. Maka dari itu perlu dilakukannya analisa dari berbagai aspek Elektrik maupun aspek Mekanik dari ESP itu sendiri. Dari aspek Elektrik diperoleh nilai arus setting yang bisa diterapkan pada operasi ESP adalah sebesar 828 mA dan dari aspek mekanik dapat diperoleh kehandalan komponen-komponen yang ada di dalam Electrostatic Precipitator agar tetap bekerja secara maksimal dengan avaibilitas system yang terjaga. Komponen-komponen kritis dari ESPberdasarkan Fault Tree Analisis (FTA) adalah Hopper,Rapper,Collecting Electrode(CE) dan Discharge Electrode (DE).Interval perawatan untuk komponen-komponen kritis tersebut adalah Hopper 1752 jam,Rapper 4380 jam ,Collecting Electrode (CE) 2920 jam, Discharge Electrode (DE) 2190 jam.

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Candotti, Fabio. "1992 - a via gangsta." Áskesis - Revista des discentes do Programa de Pós-Graduação em Sociologia da UFSCar 1, no. 1 (May 3, 2020): 126–41. http://dx.doi.org/10.46269/1112.441.

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Corria o ano de 1992 em Atlanta, quando um recém-famoso rapper foi convidado para discursar num banquete organizado pelo Malcolm X Grassroots Movement, que já era então um dos mais importantes movimentos negros existentes nos EUA. O rapper é apresentado por um ilustre membro desse movimento, Watani Tyehimba, como “uma pessoa muito querida para mim, uma pessoa que é um revolucionário da segunda geração”. Watani – que logo se tornaria seu braço direito – o conhecia desde criança. Havia lutado ao lado de sua família junto ao Black Panthers Party for Self Defense nos anos 1960 e 70. Havia, por isso, acompanhado seu crescimento. Sabia que sua mãe, Afeni Shakur, havia sido presa duas vezes e passado quase toda a gravidez na prisão, de onde saiu para ser perseguida pelo resto da vida, para ter suas menores lutas esmagadas, para não conseguir emprego em lugar algum e ser obrigada a migrar de tempos em tempos, para passar fome e se viciar em crack. Sabia que seu pai de sangue os havia abandonado e que seus tios e padrastos haviam sido todos presos ou mortos. Sabia ainda que, apesar de todas as desgraças, sua educação havia honrado seu nome (uma homenagem a dois chefes indígenas andinos), que havia sido criado como um verdadeiro black prince e que nos anos 1980 ocupara a posição de chairperson da organização juvenil New Afrikan Panthers. Acima de tudo, Watani sabia aquilo que todos ali sabiam: que aos 21 anos de idade, além de ter vendido algumas centenas de milhares de cópias do primeiro álbum, de ter lançado um videoclipe visto em todos os EUA que conta a história de Brenda, uma jovem mãe solteira 3 , esse rapper havia conquistado muito rapidamente um imenso respeito nas ruas dos guetos, principalmente em Los Angeles, cidade que naquele mesmo ano – e pela segunda vez em menos de trinta anos – fora o palco de mais uma revolta popular que mobilizou a Defesa Nacional e resultara em cerca de 25 mil presos 4 . Carregado por essa memória dupla, dos movimentos sociais e das ruas, Tupac Amaru Shakur, o rapper, não sabe bem onde se posicionar, não sabe bem quando dizer “nós” e “vocês” ou “nós” e “eles”. Parece, entretanto, saber com bastante certeza que aquilo que aquele público precisava ouvir naquele momento dizia respeito justamente a essa dificuldade.

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Ribeiro, Christian Carlos Rodrigues. "Emicida e a hipocrisia racial brasileira em questão: "Boa Esperança" e o descontruir rapper de "Casa Grande & Senzala"." Áskesis - Revista des discentes do Programa de Pós-Graduação em Sociologia da UFSCar 9, no. 1 (February 24, 2021): 240–65. http://dx.doi.org/10.46269/9120.396.

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Este artigo, têm por objetivo desenvolver reflexão acerca da arte rap de Emicida e o seu reconstruir acerca da questão racial brasileira. O que nos possibilitou desenvolver análise sociológica acerca da contraposição teórica e conceitual do rapper, através da obra “Boa Esperança” em relação ao livro “Casa Grande e Senzala” de Gilberto Freyre.

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Harrison, C. Keith, and Reggie Saunders. "Rap Sessions From the Field: Intersectional Conversations With Jemele Hill, Bun B, Fat Joe, and IDK." Sociology of Sport Journal 37, no. 3 (September 1, 2020): 230–35. http://dx.doi.org/10.1123/ssj.2020-0037.

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To end this special issue, Dr. C. Keith Harrison and Reggie Saunders connected with individuals that exist at the intersection of hip-hop culture and sport. This series of interviews begins with Jemele Hill, an American sports journalist and activist. A graduate from Michigan State University, Jemele also served as an adjunct professor at the University of Central Florida from 2012 to 2014 teaching undergraduate sport business management students practical lessons about sport media. Reggie has been an adjunct faculty member at University of Central Florida since 2015, co-teaching innovation and entrepreneurship in sport/entertainment with Harrison. Reggie follows with an interview with Bun B, one half of the Texas rap duo, UGK and currently an adjunct professor at Rice University teaching a course on religion and hip-hop. New York rapper and entrepreneur, Fat Joe weighs in briefly on the topic, and Reggie closes out by interviewing rapper and Washington DC native, IDK. IDK is known for his hit song 24, and has a notable fan in Kevin Durant, National Basketball Association superstar and fellow Washington, DC native.

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Hook, Dave. "Growing up in hip hop: The expression of self in hypermasculine cultures." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 71–94. http://dx.doi.org/10.1386/ghhs_00005_1.

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Recently, rappers Talib Kweli and Evidence discussed the conflict between rapper identity and individual identity as a person ages, with Kweli describing how a rapper’s persona ‘becomes like an armour’ and Evidence observing that ‘after a while that stops getting rewarding’ (People’s Party with Talib Kweli 2019: 54). These observations highlight the difficulties for artists to be able to express their own growth and development as their artist personas become ‘fixed’. This fixing or flattening of persona, combined with a hypermasculine culture that reflects a society where even the phrase ‘to catch feelings’ is a derogatory term, creates an environment in which opportunities for expression of personal growth, change and emotional responses have become limited. Taking an autoethnographic, multi-method approach, this article looks at examples in my own work with hip hop group Stanley Odd, which focus on personal, reflexive commentary as opposed to cultural or social commentary. Through the analysis of three songs released between 2012 and 2014, this article describes creative tactics and responses designed to navigate the boundaries of hip hop culture, Scottish culture and global culture, circumventing restrictions on emotive responses.

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Johnson. "Chance the Rapper, Spotify, and Musical Categorization in the 2010s." American Music 38, no. 2 (2020): 176. http://dx.doi.org/10.5406/americanmusic.38.2.0176.

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SEMENOVA, ELENA A. "CLOWN VS RAPPER: (INVECTIVES IN ONLINE AND OFFLINE RAP BATTLES)." Art and Science of Television 16, no. 3 (2020): 89–104. http://dx.doi.org/10.30628/1994-9529-2020-16.3-89-104.

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The article is devoted to identifying the reasons for the more frequent laughter among listeners, caused by invectives addressed to the opponents’ pseudonyms rather than to their real names. In this regard, much attention in the work is paid to the concept of invective associated with the art of clownery. Since the times of Ancient Greece and Rome, it was one of the most important strategies of rhetorical art; now it is a key definition of a rap battle, in which the audience witnesses not humor, but something between humor and seriousness. (The written comments of the audience can be compared with the satirical texts of folk poetry: its anonymous authors treat the depicted characters as representatives of the laugh world that do not exist in reality.) Therefore, it is no coincidence that rap duels, which are discussed in this article, are considered the heirs of the ancient НАУКА ТЕЛЕВИДЕНИЯ № 16.3, 2020 91 THE ART AND SCIENCE OF TELEVISION poetic competitions, where participants exalted themselves by humiliating their partners. The article analyzes oral and written texts of rap battles and viewers’ comments with reference to a deep, humorous interpretation. The basis here is the Kozintsev’s metasemantic approach to the phenomenon of humor, which was not previously applied to their analysis. According to this approach, humor is explained by the ability to make fun of one’s own stupidity and auto–parody of oneself as a representative of Homo sapiens. The comic nature is especially pronounced in clowns and is extremely uncommon for participants in rap battles. In the beginning of the research, it was suggested that the rules of rap duels probably prevent comic situations from occurring during rap battles. Later, however, the author came to the conclusion that in reality, these rules provoke humorous moments, since the audience begins to transform the participants’ pseudonyms into carnival nicknames, perceiving them at an unconscious level as a game signal.

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STEPHENS, VINCENT. "Pop goes the rapper: a close reading of Eminem's genderphobia." Popular Music 24, no. 1 (January 2005): 21–36. http://dx.doi.org/10.1017/s0261143004000261.

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This article argues that controversial hip-hopper Eminem is more properly termed a genderphobe than a homophobe. Eminem consistently uses homophobic language to critique gender behaviour, not sexual orientation. Focusing on genderphobic lyrics more accurately reveals hip-hop culture's emphasis on gender behaviour rather than the emphasis on sexual object-choice that homophobia implies. The focus on genderphobia also highlights a discriminatory practice aimed toward external behaviour that is related to homophobia but operates differently in certain cultural realms. I ground my discussion by focusing on the centrality of authenticity in hip-hop and gender propriety's centrality in comprising hip-hop notions of authenticity. Additionally, I emphasise how all pop stars rely on personae to convey convincing images to the public. I conclude by analysing the Pet Shop Boys and Mariah Carey's ‘answer songs’, which directly address Eminem's genderphobia and authenticity.

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Gaunt, Kyra, Cheryl L. Keyes, Timothy R. Mangin, Wayne Marshall, and Joe Schloss. "Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority." Journal of Popular Music Studies 20, no. 1 (March 2008): 44–78. http://dx.doi.org/10.1111/j.1533-1598.2008.00144.x.

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Schlund-Vials, Cathy J. "Hip-Hop Memoirs: An Interview with Khmer American Rapper praCh." MELUS: Multi-Ethnic Literature of the U.S. 36, no. 4 (2011): 159–73. http://dx.doi.org/10.1353/mel.2011.0061.

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Stipp, Luna, and Edinilson Donisete Machado. "CENSURA DISFARÇADA DE ORDEM." Revista Direitos Culturais 16, no. 39 (September 9, 2021): 143–57. http://dx.doi.org/10.20912/rdc.v16i39.348.

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A notícia recente da prisão de Pablo Hasél, rapper espanhol, desencadeou um crescente questionamento sobre os “limites” à liberdade de expressão e de conteúdos postados nas redes sociais na Espanha. No caso, os argumentos apresentados pelos mais diversos sítios foram a utilização indevida da rede e canção para acusar a coroa e governo, exaltar o terrorismo, além de incitar o ódio. A liberdade de expressão tem salvaguarda constitucional e foi idealizada como princípio basilar do Estado Democrático de Direito, instituto que parece encontrar barreiras na Lei espanhola 04/2015 de Proteção e Segurança do Cidadão. O objetivo do presente artigo é avaliar se a denúncia em forma de música ou através de publicação no twitter por usuários da internet é condição que infringe a liberdade de expressão e com isso responder a duas perguntas principais: a liberdade de expressão encontra limites nas manifestações cultuarias, musicais? Quais os efeitos que a condenação do rapper pode ocasionar à compreensão do que se entende por liberdade de expressão em um Estado democrático? Para tanto o presente artigo utiliza o método dedutivo com análise de fatos e teorias.

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Powell, Elliott H. "Getting Freaky with Missy." Journal of Popular Music Studies 33, no. 3 (September 1, 2021): 145–67. http://dx.doi.org/10.1525/jpms.2021.33.3.145.

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This article analyzes the music of Black female rapper Missy Elliott in order to consider performative challenges to the politics of visibility and visuality of Black queerness in hip hop. While mainstream media lauds the recent increase in and representation of out Black LGBTQ rappers, scholars such as C. Riley Snorton caution such praise for the unique ways visibility and surveillance are entangled formations that render Black queer communities vulnerable to violence. This article draws on Elliott’s songs “Get Ur Freak on” and “Pussycat” to present alternative ways of navigating the violence of visibility for Black queers and queerness. It argues that Elliott musically inhabits, expresses, and produces queerness through a set of cultural practices that this article calls the “musical aesthetics of impropriety.” The musical aesthetics of impropriety are performative expressions that are developed and deployed at the level of the sound recording, and that exploit the gaps and fissures of what qualifies as proper sexual subjects (e.g., LGBT) and how we come to perceive them as such (i.e., “evidence“) in order to produce alternative sexual and sonic formations. It is, thus, through the musical aesthetics of impropriety that we might imagine and articulate racialized queerness in hip hop differently.

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Vieira, Daniela. "Uma prosa com Karl Marx." Cadernos Cemarx, no. 11 (December 14, 2018): 51–70. http://dx.doi.org/10.20396/cemarx.v0i11.11290.

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A carta, quase um desabafo teórico, foi escrita num momento delicado para a democracia brasileira. Pretende-se demonstrar as implicações da teoria de Marx para uma análise da cultura no capitalismo tardio. Para tanto, mobiliza autores como Raymond Williams, Theodor Adorno, Walter Benjamin, Christian Laval e PierreDardot. Por fm, sublinha a produção cultural da periferia da cidade de São Paulo a partir de uma citação do rapper Mano Brown.

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Adamenko, Oleg, Yaroslav Adamenko, and Kateryna Radlovska. "GEOLOGICAL MEMORY OF STARUNJA – AS THE COURSE OF PROTECTION OF THE WORLD NATURAL HERITAGE IN CARPATHIAN REGION OF UKRAINE." Scientific Bulletin Series D : Mining, Mineral Processing, Non-Ferrous Metallurgy, Geology and Environmental Engineering 32, no. 2 (2018): 15–25. http://dx.doi.org/10.37193/sbsd.2018.2.02.

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Paleontological location of the Pleistocene fauna of hairy rhinos and mammoths near the village. Starunya Bogorodchany district of Ivano-Frankivsk region (Prykarpathian, Ukraine) is considered as a paleoclimatic rapper of global changes and a stratigraphic "bridge" linking stratigraphic patterns of the Upper Pleistocene of Western Europe and the plain territory of Ukraine. This is important for the reconstruction of global climate change and the transformation of natural and man-made geosystems.

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Aldridge, Heather, and Diana B. Carlin. "The rap on violence: A rhetorical analysis of rapper KRS‐One." Communication Studies 44, no. 2 (June 1993): 102–16. http://dx.doi.org/10.1080/10510979309368386.

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Costa, Vitor da Silva. "“Metendo dança”: saberes estético-corpóreos nas músicas do rapper Rincon Sapiência." PerCursos 22, no. 50 (December 22, 2021): 116–44. http://dx.doi.org/10.5965/984724622502021116.

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O presente artigo tem como objetivo, realizar uma breve reflexão sobre as significações das músicas do rapper paulistano Rincon Sapiência. Sobretudo, o conteúdo das músicas presentes no seu mais recente trabalho Mundo Manicongo: Dramas, Danças e Afroreps. A proposta de análise a ser empreendia aqui, visa identificar a contribuição cultural e pedagógica que este disco possui, quando pensamos sobre o prisma da corporeidade negra e as ressignificações identitárias dos sujeitos pertencentes a este grupo. Desta forma, além de evidenciar o impacto das músicas de Rincon na construção de identidades negras contemporâneas, busca-se também, apontar as concepções históricas acerca das sociabilidades negras. Nas quais, muitas das manifestações culturais exercidas pela população negra, tiveram e ainda tem, como principal vetor de expressão o corpo negro somado a musicalidade.

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