Relevant bibliographies by topics / Subculture Subculture Hip-hop Hip-hop

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Academic literature on the topic 'Subculture Subculture Hip-hop Hip-hop'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Subculture Subculture Hip-hop Hip-hop"

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Kuzovenkova, Yu A. "SUBCULTURES OF PROVINCE: A TRIBUTE TO THE CAPITAL'S FASHION OR A REQUEST FROM THE YOUTH SPHERE? (ON MATERIALS OF THE HIP-HOP SUBCULTURE)." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (2019): 74–79. http://dx.doi.org/10.17816/2072-2354.2019.19.2.74-79.

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The article discusses the causes that led to the spread of hip-hop subculture in regional cities of Russia. We decompose the time period covering the end of the 1990s - the beginning of 2000s. Material for the study are semistructured interviews taken from representatives of this subculture during this period. Fashion for this subculture from Moscow is not the only reason for the spread of hip-hop in Samara. The study showed that the spread of hip-hop in Samara was strongly influenced by the social situation in which young people lived in the first decades after the collapse of the Soviet Unio
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Bieńkowska, Monika. "Rola kultury hip-hop w kształtowaniu się tożsamości młodzieży – wybrane konteksty." Studia Edukacyjne, no. 51 (December 15, 2018): 457–67. http://dx.doi.org/10.14746/se.2018.51.27.

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This article was developed on the basis of my master’s thesis on hip-hop culture as a factor shaping young people’s identity. In today’s world, young people are increasingly looking for ways to express themselves and their values, which may be associated with belonging to different types of subcultures. Growing individuals manifest their independence by disagreeing with the surrounding reality and defying the prevailing social principles. It seems appropriate to belong to a chosen youth subculture. I will devote my attention to the subculture originating among the black Americans, namely the h
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Bieńkowska, Monika. "Rola kultury hip-hop w kształtowaniu się tożsamości młodzieży – wybrane konteksty." Studia Edukacyjne, no. 51 (December 15, 2018): 457–67. http://dx.doi.org/10.14746/se.2018.51.27.

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This article was developed on the basis of my master’s thesis on hip-hop culture as a factor shaping young people’s identity. In today’s world, young people are increasingly looking for ways to express themselves and their values, which may be associated with belonging to different types of subcultures. Growing individuals manifest their independence by disagreeing with the surrounding reality and defying the prevailing social principles. It seems appropriate to belong to a chosen youth subculture. I will devote my attention to the subculture originating among the black Americans, namely the h
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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.

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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) c
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Wojnowska, Anna. "Hip-hop subculture and the resocialization of the juvenile." Pedagogika 27, no. 1 (2018): 303–9. http://dx.doi.org/10.16926/p.2018.27.24.

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Mitchell, Tony. "The Diy Habitus of Australian Hip Hop." Media International Australia 123, no. 1 (2007): 109–22. http://dx.doi.org/10.1177/1329878x0712300111.

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Since its origins in the late 1980s, Australian hip hop continues to be fundamentally a do-it-yourself (DIY) subcultural field which has little or no music industry input or support. This paper profiles some of the small labels and producers in Australian hip hop (Obese, Elefant Traks, Nuff Said, Crookneck, Invada, etc.) and examines how they have formed from the ground up, using community radio stations such as 2SER, PBS and 3ZZZ, and websites such as Ozhiphop.com , to promote their music, as well as organising their own gigs and tours. It also examines Aboriginal practitioners of hip hop, wh
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Thorgersen, Ketil. "Whoa.Nu: (Re)Constructing and Learning Swedish Hip-Hop Online." Education Sciences 10, no. 12 (2020): 381. http://dx.doi.org/10.3390/educsci10120381.

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Whoa.nu started in 2000 as a community where members discussed all aspects of hip-hop in Sweden. The community became the most important place not only for discussions among members but also for releasing free albums and songs to the public and for arranging events. Moreover, the site was an educational hub for members to learn about hip-hop. The core of Whoa.nu was the community, wherein the communicating environment of members developed as artists, audience, and critics. Whoa.nu was not only a place for individuals’ learning processes and development but a place where Swedish hip-hop evolved
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Yanchenko, Ya M. "HIP-HOP AS A DISCURSIVE SPACE OF THE SUBCULTURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (2020): 403–7. http://dx.doi.org/10.35634/2412-9534-2020-30-3-403-407.

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The goal of the article is detection and description of the main linguistic peculiarities of the discourse of hip-hop subculture. The lack of research devoted to hip-hop language and high popularity of rap music give grounds to consider this problem relevant to solve. The article examines the factors of the formation of the subculture and their impact on the linguistic representation of the mental world of the hip-hop culture representatives. It is concluded that there is a direct connection between conditions and lifestyle (economic instability, high crime rates, racial decimations) of hip-ho
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Tosin Gbogi, Michael. "Language, identity, and urban youth subculture." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 26, no. 2 (2016): 171–95. http://dx.doi.org/10.1075/prag.26.2.01tos.

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Towards the turn of the 20th century, a new wave of hip hop music emerged in Nigeria whose sense of popularity activated, and was activated by, the employment of complex linguistic strategies. Indirection, ambiguity, circumlocution, language mixing, pun, double meaning, and inclusive pronominals, among others, are not only used by artists in performing the glocal orientations of their music but also become for them valuable resources in the fashioning of multiple identities. In this paper, I interrogate some of these linguistic markers, using four broad paradigms: “Signifying,” “slangifying,”
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Podoshen, Jeffrey S., Susan A. Andrzejewski, and James M. Hunt. "Materialism, Conspicuous Consumption, and American Hip-Hop Subculture." Journal of International Consumer Marketing 26, no. 4 (2014): 271–83. http://dx.doi.org/10.1080/08961530.2014.900469.

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Dissertations / Theses on the topic "Subculture Subculture Hip-hop Hip-hop"

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Wermuth, Mir. "No sell out : de popularisering van een subcultuur /." Amsterdam : Aksant, 2002. http://catalogue.bnf.fr/ark:/12148/cb39078174t.

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Wilson, Victoria Arriola. "The Social Organization of the Hip Hop Graffiti Subculture." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539626015.

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Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Ailane, Sofiane. "Du South Bronx à la periferia : empreinte du hip-hopper dans la cité : anthropologie du mouvement hip-hop à Fortaleza (Brésil)." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20106.

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Dans cette thèse, il est fortement question de hip-hop, mais il est un merveilleux prétexte pour pouvoir parler d’autres choses sur la ville et sur l’ambiance urbaine. Il s’agissait au départ, de s’intéresser au hip-hop, de savoir s’il existait un hip-hop à la Brésilienne et comment s'actualisait le hip-hop à Fortaleza, ville du Nordeste. À partir des premières observations, j’ai pu constater que malgré une visibilité assez faible dans la ville, le travail des organisations du mouvement hip-hop au sein des communautés dites sensibles de Fortaleza est prépondérant. Se dressait alors un paradoxe
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Meeker, James Kenneth Jr. "The Species of Capital and the Cultural Production of Hip-Hop." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556202032547372.

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Chaloupková, Veronika. "Vizuální styl hip hopové subkultury,s přihlédnutím na koncepce vizuálního stylu hudebního festivalu Hip hop kemp." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-199083.

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The aim of the thesis is to characterize the environment of hip hop subculture in the Czech Republic and to define its visual manifestations for the purposes of communication with this group. The theoretical part is focused on defining the concept of subculture. Bring nearer hip hop environment with its history and address the areas of visual expression and visual style. In the practical part, these theoretical knowledge is applied to the Hip Hop Kemp Festival, which is presented in my work. In conclusion, thesis analyze the visual style of the festival and evaluation of response to visual sty
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Zammarchi, Enrico. "“My style is strictly Italo”: A History of Italian Hip-Hop." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574612200487536.

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Celemencki, Jacqueline. "Gettin' skooled : how hip-hop culture shapes the identities of urban youth." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112330.

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This thesis examines the ways in which a group of male youths from Montreal interpret the world and construct their identities through the lens of hip-hop. The theoretical framework draws mainly from discussions of youth subcultural theory as articulated by the Center for Cultural Studies in Birmingham, as well as current research on hip-hop culture and youth identities. Using narrative inquiry as a methodological framework, this study highlights how the participants' perceive their neighbourhoods through gangster rap culture, and construct their identities according to these perceptions. This
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Medzevičius, Donatas. "Hip Hopo subkultūros edukaciniai ypatumai neformalaus ugdymo kontekste." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080618_124156-51043.

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Temos aktualumas: Įvertinus statistinius duomenis apie Lietuvos paauglių padėtį kriminologiniu aspektu (2007 metais nuteisti 1189 nepilnamečiai, 3413 nepilnamečiai buvo įtariami padarę nusikaltimą, www.nplc.lt ) ir žinant hiphopo subkultūros išskirtinį vaidmenį šiuolaikinių paauglių gyvenime, šios subkultūros edukacinių ypatumų nagrinėjimo ir pritaikomumo neformalaus ugdymo kontekste svarba yra beveik neabejotina. Tačiau literatūroje nėra pakankamai informacijos apie tai, kaip galima būtų integruoti hiphopo subkultūrą į neformalaus ugdymo kontekstą. Darbo tikslas: Atskleisti hiphopo subkultūr
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Books on the topic "Subculture Subculture Hip-hop Hip-hop"

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Koviloski, Aleksandar. Hip Hop Recnik: HIP-HOP DICTIONARY (first english-macedonian hip-hop dictionary). Sovremenost, 2008.

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Painting without permission: Hip-hop graffiti subculture. Bergin & Garvey, 2002.

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Rychła, Joanna. Ucieczka, bunt, twórczość: Subkultura hip-hopowa w poszukiwaniu autentycznego stylu życia. "Impuls", 2005.

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Koviloski, Aleksandar. Aspekti na makedonskata urbana kultura: Hip Hop Makedonija. Sovremenost, 2005.

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DEFinition: The art and design of hip-hop. Collins Design, 2008.

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Gordon, Stephen G. Jay-Z: CEO of hip-hop. Twenty-First Century Books, 2012.

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Rose, Tricia. The hip hop wars: What we talk about when we talk about hip hop. BasicCivitas, 2008.

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Irarrázabal, Gricelda Figueroa. Sueños enlatados: El graffiti hip hop en Santiago de Chile. Editorial Cuarto Propio, 2006.

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Rodrigo, Ganter, ed. Culturas juveniles, narrativas minoritarias y estéticas del descontento. Ediciones UCSH, 2002.

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undifferentiated, John Leland. Hip. HarperCollins, 2008.

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Book chapters on the topic "Subculture Subculture Hip-hop Hip-hop"

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Podoshen, Jeffrey S., Susan A. Andrzejewski, and James M. Hunt. "Materialism, Conspicuous Consumption and American Hip-Hop Subculture." In The Sustainable Global Marketplace. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10873-5_19.

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Johannsen, Igor. "Imagining and Performing Marginalization: Hip Hop and the Arab Spring of 2011." In Researching Subcultures, Myth and Memory. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41909-7_12.

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Wang, Yehan. "The New Hip-Hop Generation of China." In Multidisciplinary Perspectives on Media Fandom. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3323-9.ch005.

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In 2017, an online reality show single-handedly ignited China's passion for hip hop, garnering more than 2.5 billion views and ensuring stardom for its contestants. Prior to this, Chinese hip-hop culture was only an “underground culture”; a small number of people sang in subway stations, not in mainstream media or culture. Based on research into the concept of “post-subculture” and the Birmingham school's theory of youth subcultures, this research takes the TV music show The Rap of China as an exemplary case study and explores how media companies make use of power emerging from fandom to “break the rules” of the traditions of mainstream culture in China. Through online observations of hip-hop songs and artists as well as interviews of hip-hop fans, this research explores the identities constructed in the age of consumerism and how new hip-hop generation fans perceive hip-hop culture.
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Williams, Justin A. "Subculture/Style." In Brithop. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190656805.003.0004.

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This chapter focuses on the punk-rap duo the Sleaford Mods (“Tied up in Nottz,” “Tiswas,” “Liveable Shit”) and grime-pop rapper Lethal Bizzle (“Babylon’s Burning the Ghetto”), artists who appropriate and translate punk aesthetics via different means to varying consequences. It examines the result of combining aesthetics from an older genre with newer developments, highlighting the racialized identities that often exist within these genres. While punk is not the only musical genre utilized in hybrid hip-hop styles in the United Kingdom, it nevertheless lends particular sonic and ideological meanings to English rap music, meanings which complicate an already multifaceted history of racially essentialized categorizations of the music industry and their listeners.
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Pabón-Colón, Jessica Nydia. "Introduction." In Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.003.0001.

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This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.
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Pabón-Colón, Jessica Nydia. "Conclusion." In Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.003.0007.

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This chapter summarizes how the book has created the space for graffiti grrlz’ stories to emerge, demonstrating how they negotiate their belonging to, and visibility in, a hetero/sexist male-dominated subculture embedded in a patriarchal world. It traces how graffiti grrlz perform a different kind of standpoint epistemology, one structured less by knowing and claiming a location on the grid of identification and more by doing something that feels revolutionary. The conclusion states that by offering an analysis of how graff grrlz have made substantial, quantifiable, and qualitative changes in the subculture on a transnational scale, scholars and practitioners have a new way of looking at graffiti subculture. In one last intervention, the conclusion closes with a list of messages from the graffiti grrlz in the book to aspiring graffiti grrlz reading the book. The Hip Hop gesture of “passing the mic” amplifies the words and works of the grrlz taking public space across the diaspora.
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Morgan, George. "Gangsta Warrior Bro: Hip-hop and Urban Aboriginal Youth." In Youth Cultures and Subcultures. Routledge, 2016. http://dx.doi.org/10.4324/9781315545998-15.

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