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Collares, Favorino José de Freitas. "Expressão gênica e taxas de desenvolvimento de embriões Mus musculus domesticus expostos à pressão gasosa no estágio de 8-células e submetidos à crioconservação no estágio de blastocisto". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108173.
Texto completoThe first objective of the experiments was to determine the development rates of mouse embryos exposed to high gaseous pressure (HGP – 15.7 MPa gaseous N2) at 8-cell stage for 2 or 4 hours. Second, determine the blastocyst re-expansion rates after cryopreservation. Third, determine the relative expression of BAX, Bcl2, GLUT1, GLUT3, IGF1, IGF2, IGF1-R, IGF2-R, SOD2, HSP70.1, AQP3 and PPIA in the following experimental steps: immediately after collection of 8-cell stage embryos, at the blastocyst stage before and after freezing. Fourteen males and 60 females Mus musculus domesticus were used in six experiment replications. Thirty-eight (63%) from the 60 superovulated, females produced 1092 viable embryos. These 8-cell stage embryos were then randomly divided into four experimental groups: P1 group – embryos were first exposed to 15.7 MPa of gaseous N2 for 2 hours and after cultured in vitro until the blastocyst stage; P2 group - embryos were treated identically to the P1 group, but were exposed to 15.7 MPa of gaseous N2 for 4 hours; CE control group - embryos were submitted to in vitro culture immediately after collection; CB control group - embryos were maintained at room temperature (22ºC) for 4 hours and after cultured in vitro. The results of embryo in vitro development to the blastocyst stage were: P1 Group- 96.4% (245/253); P2 group- 94.0% (253/269); CE group- 95.0% (249/262) and CB- 95.4 (249/261). After cryopreservation the blastocyst re-expansion rates were: P1 group- 86.3 % (63/73); P2 group- 80.0 (76/95); CE group – 72.8 (67/92), CB group- 83.6 (92/110). No major differences in gene expression were observed among treatment groups for most genes analyzed in this study, likely due to the biological variability in groups of embryos within each group. Exposure of embryos at 8-cells stage to 15.7 MPa of gaseous N2 did not compromise in vitro embryo viability to reach the blastocyst stage. The survival rates of blastocysts to cryopreservation differ only among the embryos that were exposed to the HGP during 2 hours at 8-cell stage (86,3 %) and the 8-cell stage embryos that were submitted to the in vitro culture immediately after collection (72,8 %). The experimental results showed that HGP can be used to induce sublethal cell stress in murine embryos.
Adão, Sandra Regina. "Movimento hip hop". Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88959.
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A presente pesquisa é um convite ao leitor a navegar no que foi vivido por mim, no papel de pesquisadora ao buscar o movimento cultural juvenil hip hop na Escola de Educação Básica Lucia do Livramento Mayvorne, no Morro do Monte Serrat em Florianópolis. Em todo processo investigativo procurei ter um olhar para este movimento cultural juvenil e para os adolescentes aqui chamados por: Margarida, Rosa, Violeta, Cravo, Dália, Jasmim, Girassol, Bromélia, Lírio e Cacto que trouxeram suas experiências desta cultura dando corpo à pesquisa. Entendi que os gestos, movimentos corporais e o estilo de seu vestuário vinham imbuídos da identidade negra, com suas tranças e seu gingado corporal. O conceito de identidade diz respeito ao pertencimento social, cultural, étnico e de gênero, pertencimento que se constrói na família, nos ambientes sociais e institucionais, por meio de comparações e contrastes nas inter-relações socioculturais. Vi em meu corpo e no prazer pela dança uma cumplicidade para a pesquisa. Compõem esta pesquisa as falas dos adolescentes, do professor de educação física, da professora de arte-educação e da diretora da escola, em relação ao corpo e dança que é o principal objeto deste estudo, onde busquei minhas reflexões, tendo como base o referencial-teórico metodológico dos estudos culturais. Na experiência da dança e do corpo os adolescentes mostraram sua importância fotografando as coreografias do movimento cultural juvenil hip hop. Fica, para a leitura do trabalho completo, a reflexão desta cultura na fala dos adolescentes negros/as pesquisados. The current research is an invitation to the reader to sail into what has been lived for me, as a researcher, reaching the hip-hop young cultural movement in the Lucia do Livramento Mayvorne´s elementary school, in the Monte Serrat hill in Florianópolis. Through the whole investigative process, I tried to have a look on this young cultural movement and on the adolescents here called: Daisy, Rose, Violet, Clove, Dahlia, jasmine, sunflower, Bromeliad, Lily and Cactus that brought their experiences of this culture giving substance to the Research. I understood that gestures, corporal motion and vestry style came imbued with the black identity, marked by their braid hairs and body swaying. The concept of identity says about the social, cultural, ethnic and gender belonging, which is constructed in family, social and institutional atmospheres, over comparisons and assays in the socio-cultural inter-relations. I have seen in my body and in the pleasure for dance complicity for the research. This research is composed by the discourse of the adolescents, physical education teachers, arts teacher and the school principal, in connection to the body and dance, which are the main object of this research, where I searched for my reflections, having the theoretical-methodological allusion of the cultural researches as support. On the dance and body experience, the adolescents manifested their importance by photographing the choreographies of the hip-hop young cultural movement. Stays for the reading of the complete research, the reflection of this culture on the discourse of black adolescents that were here investigated.
Süß, Heidi. "Hip-Hop-Feminismus". Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.
Texto completoSüß, Heidi. "Hip-Hop-Feminismus". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.
Texto completoPavicic, Christine. "Hip hop dancing bodies : eine interkulturelle Studie der Hip-Hop-Kultur /". Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.
Texto completoPavicic, Christine. "Hip hop dancing bodies eine interkulturelle Studie der Hip-Hop-Kultur". Hamburg Kovač, 2006. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.
Texto completoDel, Hierro Marcos Julian. "It's Bigger and hip-hop Richard Wright, hip-hop, and masculinity /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Texto completoIsoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.
Texto completoFreire, Rebeca Sobral. "Hip Hop Feminista? convenções de gênero e feminismos no movimento Hip Hop soteropolitano". reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/6303.
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CAPES
Esta dissertação discute questões em torno das convenções de gênero e feminismo no Hip Hop em Salvador a partir da perspectiva das jovens militantes. Busca-se analisar a possibilidade de um hip hop feminista soteropolitano, com vistas à compreensão do feminismo na sua pluralidade como movimento social. Para tanto, considera-se as formas de apropriação dos discursos feministas e o engajamento em suas bandeiras na militância das interlocutoras da pesquisa. Ressalta-se a atenção à articulação entre os marcadores sociais de gênero, sexualidade e raça na prática política investigada. Assumindo o método qualitativo de pesquisa, esta investigação de cunho etnográfico utilizou-se de entrevistas semiestruturadas realizadas junto às hip hoppers, bem como da observação participante oriunda da convivência junto ao grupo estudado, sob o aporte interdisciplinar dos estudos de gênero e feministas.
Salvador
Haery, Todd Cameron. "(Pro-) Socially conscious hip hop: Empathy and attitude, prosocial effects of hip hop". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587747399137313.
Texto completoJenkins, Derrick J. Sr. "Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1338905792.
Texto completoCorrea, Cristina, Karla Henríquez, Rodrigo Hidalgo y Juan Pablo Olavarría. "El hip hop en Chile". Tesis, Universidad de Chile, 1999. http://repositorio.uchile.cl/handle/2250/138741.
Texto completoEl autor no autoriza el acceso a texto completo de su documento
¿Qué es el hip hop? ¿Una tendencia musical, el rap? ¿Una gráfica que comprende murales, graffitis y firmas (tags)? ¿Una danza, el break dance? ¿Una moda? No es tan simple. Este múltiple canal de expresión al que adscriben cada vez más jóvenes chilenos presenta características propias que complejizan esta primera definición. Al estudiarlo pretendemos develar los elementos ideológicos presentes en él, sus alcances sociales, sus significados psicológicos, su ethos. Este trabajo es entonces un estudio descriptivo que aborda la producción de sujetos, identidades y circuitos sociales en el movimiento cultural llamado hip hop. En primera instancia, abordaremos las caracterizaciones del hip hop en el contexto de la cultura global imperante. Es decir, cuáles son sus propiedades dentro de la industria cultural y como funciona su especificidad en tanto fenómeno cultural en un contexto global en América Latina. En este sentido será necesario explorar la cosmovisión que opera en su textualidad, qué ideologías se hallan presentes en su estructura de funcionamiento, volcadas a la cotidianidad, en las áreas de producción, distribución y consumo. Dado que el hip hop en su origen aparece como un movimiento underground, que dispara desde los márgenes del sistema, y que como expresión cultural tiene su raíz primera en los getthos neoyorquinos; cabe entonces ver qué elementos de este hip hop originario se hallan presentes en el modo en que se da en nuestro territorio. Una vez establecidas sus características, deberemos analizar los mecanismos de identificación que genera en los jóvenes chilenos. Es decir, profundizar en la resignificación identitaria de que es objeto el fenómeno al insertarse en nuestra especificidad histórica, social y cultural. Por qué es que los jóvenes chilenos hallan en el hip hop un lugar donde “ser ellos”, y “cómo es que lo son”. Cómo es que la especificidad estética del hip hop juega un rol preponderante en el acercamiento del joven que busca su identidad, a una cosmovisión. En un mundo donde la preponderancia de lo cotidiano crece en detrimento de los grandes relatos, la conformación de una identidad propia vuelve la vista a los subgrupos. La realización del sujeto se da en la comunidad inmediata, que comparte la cotidianidad del sentido común y una determinada forma de producción cultural. Ahora bien, la cultura como universo simbólico nos remite a un imaginario del individuo en un proceso de constante flujo textual, en un permanente reenvío de significados (semas). Así, la semiótica y el psicoanálisis nos proveerán las herramientas científicas para analizar las distintas manifestaciones artísticas del sujeto, y cómo opera a nivel de conciencia e identidad los entrecruzamientos de lo imaginario y lo simbólico. Si se mira bien, a poco andar parece existir una tensión basamental. El hip hop nace de la marginalidad, es una reacción subversiva encarnada en el ícono de la pandilla, del que vive en gethos. El hip hop al llegar a nuestro país, y al poco a poco desmenuzar el cómo se va consumiendo, distribuyendo y produciendo, incorporándose al modus vivendis del joven chileno, cambia su marginalidad esencial. Es un fenómeno de masas marginal. Esta paradoja crece cuando el adscribir al hip hop es un gesto entendido como rebelde, aún asumiendo que el hip hop en sí no lo sea. Dicho de otro modo: en sus principios (valóricos y temporales) el hip hop es subversivo, “es” desde la ilegalidad, pero llegado a nuestro país, esta subversividad se trastoca en múltiples y contradictorias formas. Nuestra labor es establecer la dirección de estas mutaciones, y comprobar entonces cuál es el efecto real del hip hop en la juventud chilena: porqué adscriben a él, qué elementos presenta, dónde radica su fortaleza pulsional. Con ello no sólo se satisface un legítimo interrogante meramente intelectual, académico: conocer qué contenidos transmiten y cómo operan los dispositivos utilizados por la juventud chilena; si no que se pretende explotar -en el sentido de agotar- la ideología que subsume toda la cultura actual en el marco del mundo globalizado, denunciando así, su caducidad en términos de forma y contenido.
Johnson, Casey Michelle. "Virginia Hip Hop and Place". Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/35313.
Texto completoMaster of Science
Turner, Patrick. "Hip hop versus rap : an ethnography of the cultural politics of new hip hop practices". Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4745/.
Texto completoJordan, Augustus W. III. "Ideological and narrative structures of Hip-Hop music: A study of selected Hip-Hop artists". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/64.
Texto completoAMARAL, E. S. "Com Lincença Hip-hop: Mapeamento dos Grupos de Hip-hop na Grande Vitória, Espírito Santo". Universidade Federal do Espírito Santo, 2009. http://repositorio.ufes.br/handle/10/2879.
Texto completoRESUMO Essa dissertação objetiva traçar um mapeamento dos grupos de Hiphop, na Grande Vitória, Espírito Santo. Conserva o nome dos participantes como um recurso metodológico para viabilizar a narração de histórias dos personagens que tecem o Hip-hop. Procede a análises a partir da noção de poder, resistência e biopoder proposta por Foucault. Apresenta também o entrecruzamento de algumas concepções recolhidas em Deleuze, Guattari, Rolnik, Benevides. Discute as movimentações sociais efetuadas no Brasil nos anos de 1970 e 1980 e destaca a emergência de movimentações sociais, tais como o Hip-hop, ao final dos anos de 1980, como uma forma diversa de expressão das ações coletivas e a emergência de outros modos de viver na sociedade, apontando os exercícios de resistência e o embate de forças experimentado no biopoder. Apresenta, em relação ao Hip-hop, um panorama geral de sua história no mundo, no Brasil e na Grande Vitória, Espírito Santo. Por se tratar de grupos compostos em sua maioria por jovens, traz alguns destaques acerca da juventude no Brasil e no estado do Espírito Santo, visando a desnaturalizar a juventude como natureza e fase da vida. Metodologicamente, toma, principalmente, as entrevistas e as letras das músicas, para traçar as temáticas analisadoras que colocam em análise as práticas e processos que tecem o Hip-hop na Grande Vitória, Espírito Santo. Palavras-chave: Movimento Hip-hop. Juventude. Subjetividade. Participação Social.
Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.
Texto completoThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.
Gao, Fei. "A Comprehensive Investigation of Ambient Mercury in the Ohio River Valley: Source-Receptor Relationship and Meteorological Impact". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194624797.
Texto completoBranch, William. "Theological implications of hip-hop culture". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
Texto completoBranch, William. "Thelogical implications of hip-hop culture". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
Texto completoAcker, Tristan D. "CONFESSIONS OF A HIP-HOP HIPPIE". CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/60.
Texto completoWermuth, Mir. "No sell out : de popularisering van een subcultuur /". Amsterdam : Aksant, 2002. http://catalogue.bnf.fr/ark:/12148/cb39078174t.
Texto completoMarkarian, Dania. "Hiphop : Kunskap, språkutveckling och ett lustfyllt lärande". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18382.
Texto completoEason, Keri. "Reppin' and Rice: How AAPI Hip-Hop Fans Negotiate Their Racial Identities in the US Hip-Hop Community". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595847077716551.
Texto completoÅkerstedt, Olof. "Figuras retóricas en el hip-hop español". Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94371.
Texto completoEl presente estudio es una indagación en la retórica del hip hop español, enfocado en cinco canciones de algunos de los artistas más prominentes del género en España. El propósito es estudiar las figuras retóricas halladas en las canciones seleccionadas y sus funciones en el contexto de las canciones y de hip-hop. El análisis se basa en investigaciones previas en el mismo ámbito así como en distintos manuales y diccionarios de figuras retóricas, si bien muchas de las conclusiones derivan también de las interpretaciones del investigador. La intención última de este estudio es localizar posibles tendencias de la expresión retórica en las canciones analizadas; el resultado es una propuesta de lo que según el análisis del presente corpus parece ser representativo de este género en España.
Sewell, Amanda. "A typology of sampling in hip-hop". Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587662.
Texto completoHip-hop producers rely on several specific formulas to create sample-based hip-hop. Developed with a combination of analysis and ethnography, this typology of sampling is a systematic terminological and conceptual approach to this repertoire. There are three main types of samples: structural samples, surface samples, and lyric samples. Each of these types has a distinct function in a sample-based track: structural samples create the rhythmic foundation, surface samples overlay or decorate the foundation, and lyric samples provide words or phrases of text.
The typology offers a consistent approach to identifying the sounds in sample-based music, allowing recognition of historical trends and generalization about musical style. For example, hip-hop producers have sampled lyrics from Public Enemy's 1987 "Bring the Noise" over 100 times, and those samples show striking similarities both in the material sampled (Flavor Flav's "yeah, boy" and Chuck D's "bass" are favorites) and how the sampled sounds are treated in new tracks. The typology is a way to differentiate producers' treatments of sampled sounds. Additionally, the typology is a tool for distinguishing the musical styles of artists. Released within a year of each other, Public Enemy's Fear of a Black Planet and the Beastie Boys' Paul's Boutique each contain over 100 samples. The typology offers a way to describe the groups' sampling styles. Further, while hip-hop artists and scholars agree that sampling changed after the 1991 lawsuit involving Biz Markie's "Alone Again," until now, there has been no way to quantify these changes. The typology is a concrete way to demonstrate how hip-hop groups such as The Beastie Boys, De La Soul, Public Enemy, Salt 'n' Pepa, and A Tribe Called Quest modified their approaches to sampling when samples became difficult to license. Ultimately, a typology is a systematic analytical approach to the genre of sample-based hip-hop.
Tinajero, Roberto Jose. "Hip hop rhetoric relandscaping the rhetorical tradition /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Texto completoMatsunaga, Priscila Saemi. "Mulheres no hip hop : identidades e representações". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252714.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A pesquisa busca refletir sobre a participação de mulheres no movimento hip hop, bem como analisar as representações sociais da mulher construídas pelo movimento. As análises propostas são baseadas nas considerações teóricas sobre identidade, identidade coletiva e representações sociais. Os dados utilizados no estudo foram coletados por meio de entrevistas abertas roteirizadas com mulheres que participam do movimento (nas cidades de Piracicaba e São Paulo) e de letras de rap (elemento artístico do movimento hip hop). Compreendemos que o movimento hip hop se constitui como uma possibilidade de identificação para mulheres que buscam um agir coletivo, seja este orientado para a reivindicação feminista ou para a reivindicação dos direitos daqueles que vivem em condições de exclusão social e econômica, utilizando manifestações artísticas como veículo/instrumento de relato e protesto destas condições. O hip hop, porém, por meio de seu principal elemento, a música rap, propaga representações sociais tradicionais referentes à mulher. Assim, grupos femininos começam a questionar o posicionamento inferior que lhes é atribuído, reivindicando outros papéis e visibilidade cultural e política
Abstract: The research aims to think over the women participation in hip hop movement, and to analyze the women social representation built by the movement as well. The proposed analyses are based upon the theoretical grounds on the identity, collective identity and social representations. The data used in this study were gathered through open oriented interviews made with women who participate in the movement (in the cities of Piracicaba and São Paulo), and through the lyrics of rap (an artistic element of the hip hop movement). We understand that the hip hop movement is constituted as a possibility of identification for those women who search for a collective action, whether be directed for feminist demand or be directed for demanding the rights of those who live in social and economical exclusion conditions, using artistic manifestations as a mean/ instrument of reporting and protesting of such conditions. However, the hip hop, by its principal element, the rap music, spreads the traditional social representation related to woman. Therefore, feminine groups begin to question the inferior position to whom it is attributed, and they are claiming other roles and political and cultural visibility
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação
Zibordi, Marcos Antonio. "Hip hop paulistano, narrativa de narrativas culturais". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-29062015-144403/.
Texto completoThis thesis seeks a transdisciplinary approach of the so-called \"hip hop culture\" in the city of Sao Paulo, aiming to comprise its four artistic manifestations and its discourse, chiefly based on notions of epistemological complexity. Granted, there is a mutilative proclivity on researching such a composite tradition. Nonetheless, this paper offers an integrated point of view of the said elements. That is, dance (break), imagery production (graffitti, in the context of this thesis), the chanting of long poems (rapping) over sonic bases produced by records and other technological resources manipulators (DJs). There is also a fifth element: knowledge, or the cultural statements of the hip hop suporters. Its bodily, pictorial, rhyming, and musical manifestations are taken as narratives, and its discourse, as a religious text. These narratives generally have lyrical and poetical imagery, and comprise the epic rap lyrics, the dramatic dance moves and the parodical creations of the DJs. This knowledge guides the hip hop followers\' and admirer\'s attitude, leading to a sectarian and dogmatic cultural community, much similar to those formed by the believers of salvation religious denominations. In order to achieve this goal, the author has assembled a theoretical cross-over with certain realms of Literary Theory, Philosophy, Semiotics, and Sociology.
Silva, Roberta Grangel da [UNESP]. "Experimentações juvenis: nas trilhas do Hip Hop". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/97541.
Texto completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
Silva, Roberta Grangel da. "Experimentações juvenis : nas trilhas do Hip Hop /". Assis : [s.n.], 2009. http://hdl.handle.net/11449/97541.
Texto completoBanca: Helio Rebello Cardoso Junior
Banca: Sonia Regina Vargas Mansano
Resumo: Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
Abstract: The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
Mestre
Gorney, Christopher Cole 1977. "Hip Hop Dance: Performance, Style, and Competition". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9869.
Texto completoThe purpose of this study was to identify and define the essential characteristics of hip hop dance. Hip hop dance has taken many forms throughout its four decades of existence. This research shows that regardless of the form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study of each of these characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. Defining these vital characteristics in the vernacular context should help dancers, scholars, and educators to develop a better understanding of hip hop dance.
Committee in Charge: Jenifer P. Craig Ph.D., Chair; Steven Chatfield Ph.D.; Christian B. Cherry MM
Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.
Texto completoMcLaughlin, David. "Sampling Hip Hop and Making `Noiz': Transcultural Flows, Citizenship, and Identity in the Contestatory Space of Brazilian Hip Hop". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431071301.
Texto completoSantos, Maria Aparecida Costa dos. "O universo hip-hop e a fúria dos elementos". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-19042018-155632/.
Texto completoThe present study aims to examine and reflect on the nature, origin and conceptual construction of Hip-Hop. To do so, we used the qualitative approach, using field research conducted through semi-structured interviews with representatives and activists recognized by Hip-Hop and analyzed in the light of academic and nonacademic literature (theses, Dissertations, articles, books, magazines), as well as other materials (documentaries, films, lectures) produced on Hip-Hop. This work problematizes the classical characterization of this phenomenon, which traditionally points to four elements as constitutive dimensions of the movement: DJ / MC, Breaking, Graffiti and Rap. Contrary to this rigid description, the hypothesis of this research affirms that, because it demonstrates a dynamic and recreational character, this cultural phenomenon, in its historical process, has spawned other dimensions, so far, invisibilized or little discussed by academic literature. In the process of investigation, other elements of Hip-Hop were identified, such as slang, clothing, streetball and marginalized literature, which, like the others, carry, represent and reveal identity, political and ideological issues, such as ethnic- Racial and gender, involving the youth of the peripheries, showing a Universe in constant contradiction, transformation and reconstruction and in close relation with Education in its broadest sense. In this way, by its dialectical nature and condition, Hip-Hop is constituted by processes marked by tensions between the advances of the new tendencies and resistances to these advances, reason why the work was titled \"The Hip-Hop Universe and the fury of the elements\".
Vidmar, Hannah Marie. "`Sikia: Hip-Hop and the Politics of Language and Public Space in Dar es Salaam, Tanzania". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587658348774363.
Texto completoLarsson, Ronja. "Hip-Hop Don't Die, We Multiply: Repetitiva troper i tidig hip-hop-film : Enhet och kreativitet som budskap och utväg". Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-161647.
Texto completoKaya, Ayhan. "Constructing diasporas Turkish hip-hop youth in Berlin /". Thesis, Online version, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.242078.
Texto completoMansfield, John. "Hip-hop pathology and the commodification of culture /". Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm287.pdf.
Texto completoKline, Christopher (Kip). "Represent Hip-hop and the self-aesthetic relation /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3255510.
Texto completoTitle from PDF t.p. (viewed Nov. 20, 2008). Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0926. Adviser: Phil F. Carspecken.
Mashiyi, Sikelelwa Anita. "Spaza Hip hop in the townships of Khayelitsha". University of the Western Cape, 2019. http://hdl.handle.net/11394/6966.
Texto completoSince the arrival of hip-hop in Cape Town and indeed South Africa in the 1980s, a diverse and vibrant range of hip-hop sub-genres has developed in Cape Town. Scholarship, however, have approached hip-hop mainly through a linguistical angle focusing mostly on Cipha hiphop in the Cape Flats. This ethnographic work looks at performances and practices of Spaza hip-hop. It explores the musical genre of Spaza hip-hop in the township of Khayelitsha, discussing ideas advanced by scholarship almost ten years ago and re-assessing issues of language, citizenship and ethnicity from today’s perspective. It looks at Spaza hip-hop not only as a musical genre, as it explores questions of identity, ethnicity, race, and gender. My research discusses how Spaza hip-hop music is consumed today, how it is produced and how it circulates. Across two years of fieldwork, I followed park sessions, open mic sessions and events; I have interviewed artists, producers and audiences. I argue that Spaza hip-hop in 2018 had changed drastically from its first apparition. Not only most of the artists are now older, but also the Spaza hip-hop scene is now invaded by trap hip-hop artists. Across my research I explore issues of gender in hip hop which is generally perceived as a “masculine” music. I illustrate how female artists constantly challenge norms and negotiate a space of their own, paradoxically transforming Spaza hip hop in a space for freedom.
Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.
Texto completoThis thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups was used to execute this study. Three focus groups consisting of six to seven participants per group, totaling 19 participants, were conducted. Findings included that the background of each participant influenced what Hip-Hop means to them. Overall, Hip-Hop music was valued by participants and listened to for many reasons of sociological relevance, including its influence of political consciousness and colorism. Future studies should explore the how different demographic groups experience and perceive Hip-Hop, including how diverse educational backgrounds may influence perception.
Isidoro, Filho Constantino. "Demorô! : investigações sobre a teatralidade no hip hop". reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/8980.
Texto completoTexto parcialmente liberado pelo autor. Conteúdo: Considerações Iniciais, Considerações Finais, Referências Bibliográficas.
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Esta dissertação tem como objetivo investigar a ocorrência da teatralidade na estrutura criativa e organizativa do hip hop. Essa arte se constitui como um movimento sócio-artísticocultural formado por quatro elementos principais: o grafite, a dança do Bboy, a discotecagem dos DJ e o canto dos MC. Na pesquisa realizada identificamos nos quatro elementos a utilização consciente de procedimentos técnicos que visam produzir um tipo particular de experiência estética, na qual a realidade social é índice que anima a produção artística. Ao mesmo tempo em que serve de material poético, a realidade vivida fornece o contexto que identifica os atores envolvidos na prática cultural. Há na sua materialização uma postura de protagonismo ambivalente e polifônico, cujo acento ora reside no artista, ora no público. Com a mesma contundência, a perspectiva expressiva que canta, dança, desenha e sonoriza o espaço social com a visão íntima, sensível e feroz dos excluídos postula e provoca nos envolvidos uma atitude concreta de atuação na realidade social, forjando uma estética intimamente vinculada a uma ética, que se reflete tanto na produção artística quanto na postura cidadã do ativista deste movimento. Dessa forma, hip hop configura-se como um modo de vida com a sua própria língua, estilo de música, vestimentas e de mentalidade. Esse modo próprio de vida procura construir no espaço social de marginalização um novo patamar para a qualidade de vida desses excluídos. É justamente no controle exercido para a articulação dessa estética hip hop com as outras dimensões de sentido da sociedade que verificamos a forte presença da teatralidade como dispositivo capaz de atuar tanto na dimensão artística, quanto no campo social do cotidiano. Essa inteligência simbólica e criativa é para nossa pesquisa um dispositivo teatral de alto valor para a produção das artes cênicas na contemporaneidade. _________________________________________________________________________________ ABSTRACT
This thesis aims to investigate the occurrence of theatricality in the creative and organizational structure of hip hop. This art is constituted as a socio-cultural-artistic movement consisting of four main elements: graffiti, dancing Bboy, the disco rithms of the DG’s and the MC’s way of sing the songs. In the survey we identified on all four elements the conscious use of technical procedures that aim to produce a particular kind of aesthetic experience, in which social reality is the content that drives the artistic production. While serving as poetic material, the lived reality provides the context that identifies the actors involved in the cultural practice. Due to its materialization there is a polyphonic and ambivalent protagonism posture whose enphasys laiys sometimes on the artist, sometimes in the public. With the same forcefulness, the expressive prospect that sings, dances, draws and sonorizes the social space with the inner vision, sensitive and fierce by the excluded postulates and causes on the involved a concrete attitude of action in the social reality, forging an aesthetic closely linked to an ethics, which is reflected both in the artistic production as a citizen activist posture of the movement. That way hip hop is configured as a way of life with its own language, style of music, clothing and mindset. This particular way of life seeks to build in the social marginalization a new bar for the quality of life of those excluded. It is precisely in control and exercised to this articulation of this hip hop aesthetic with the other dimensions of meaning in society, we find that the strong presence of theatricality as a device capable of acting both in the artistic dimension, as in the social sphere of everyday life. This symbolic and creative intelligence is for our research a theatrical device of high value to the production of performing arts in contemporary society.
Gustsack, Felipe. "Hip-Hop : educabilidades e traços culturais em movimento". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/6454.
Texto completoFerreira, Tania Maria Ximenes. "Hip hop e educação : mesma linguagem, multiplas falas". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252771.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente dissertação foi desenvolvida na área ¿Ensino, Avaliação e Formação de Professores¿, com a contribuição de estudos realizados junto ao grupo de pesquisa VIOLAR ¿ Laboratório de Estudos sobre Violência, Imaginário, Práticas Sócio-Culturais e Formação de Professores ¿ da Faculdade de Educação da UNICAMP. A pesquisa teve como interesse o estudo do hip hop que se constitui como um movimento sócio-cultural e reúne três manifestações artísticas: o rap, o break e o graffiti. Foram abordados os conflitos e as ambigüidades que permeiam o hip hop em sua trajetória, entrecruzando o ontem e o hoje, a partir do seu surgimento em Campinas (SP), há, aproximadamente, vinte anos. As relações tecidas entre o hip hop e a educação no processo de sua construção no município de Campinas foram igualmente consideradas
Abstract: The present work was developed in the area ¿Teaching, Evaluation and Formation of Professors¿, with the contribution of studies performed with the research group VIOLAR ¿ Laboratory of Studies on Violence, Imaginary, Socio-Cultural Practices and Formation of Professors ¿ Education School ¿ UNICAMP. The objective of this research was the study of the Hip Hop, which is considered as a socio-cultural movement that gathers three artistic manifestations: rap, break and graffiti. The conflicts and ambiguities that involve the Hip Hop in its trajectory were approached, including yesterday and today since its emergence in the city of Campinas (SP), about 20 year ago. The relationships verified between Hip Hop and education in the process of its construction in the city of Campinas were equally considered.
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
Felix, João Batista de Jesus. ""Hip Hop: cultura e política no contexto paulistano"". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-01052006-181824/.
Texto completoGomes, Carin Carrer. "O uso do território paulistano pelo Hip Hop". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-01062012-154048/.
Texto completoThe present work aims to understand the inequalities that take place in the paulistano territory and every resistance that arise against them. Among landscapes that range from abundance to shortage, we found that territory usage by the Hip Hop movement reveals the actual corporative and unequal configuration of the informational city, São Paulo. Among the informational and corporative uses of São Paulo city and also its fragmentations, the Hip Hop movement emerged in 1980s brings new possibilities of using objects and actions that form the São Paulo city. At the same time in which the São Paulo city formation was characterized by the modernization of big projects, the territory usage actually reveal us that in the daily actions each place lives its own rationality creating at the same time the counter rationality by the culture practice. By the contemporaneous usages of the territory by the Hip Hop movement we found the reason created by the practices of the Dj, Mc, Break e Grafitt. Even whit restrict access to new informational technologies, the creative process in those places are doubly creative since they produce their own activities and create a way to communicate their practices, revealing the territorial communication as an important instrument to the production and even continuity of the Hip Hop. Therefore, in the scrutiny here presented we sought to comprehend how a territory prepared to the capitalist interests hold and strengthen the emergence of movements such as the Hip Hop that favors the fusion of territorial corporative relationships to the shortage produced in those places, valuating and casting the conscience of using the territory by the place and culture.
Machado, Carlos Geovani Ramos. "O Ensino de geografia e o Hip Hop". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56237.
Texto completoThis research, in which we have walked this academic path, is based on the analysis and interpretation of the Hip-hop Movement and its relationship with the teaching of geography. Throughout this study some geographical concepts were used and subsided our arguments, such as space, place, territory and landscape. We will also dialogue with some secondary concepts – which nonetheless are not less important by this fact such as culture, identity, social representations, city, scholar space, and communication. As we plunge our concerns into the hip-hop movement, we wish to verify whether or not it is possible for the subject to find their geographical identity from its metalanguage, thus facilitating the construction of geographical knowledge. We immersed our arguments through Edgar Morin’s Complex Thinking Theory, which allowed us to interpolate questions to the contradictions of the rappers’ subject in everyday life, evaluating their culture, which comes from the streets, the ghettos, the suburbs, seeking to understand these relations with the school universe and with the learning process, examining their actions and their struggle to overcome their social problems as well as prejudice and neglection, having the knowledge as an important goal in their trajectories. This research used qualitative research as its main tool, allowing us to do semi-open interviews, attempting to avoid simplifications, dialoguing, questioning or reaffirming, in a provisional way, the social and geographical concepts. Urban space, its suburbs particularly, were the background for this research, the place where different actions occurs starred by these young subjects of hip hop culture.
Cogoy, Carlos Alberto Jardim. "Hip Hop pelotense: saberes educativos desafiando a opressão". Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br:8080/handle/prefix/2899.
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Esta dissertação enfoca o movimento Hip Hop de Pelotas. Através de quatro entrevistas e material jornalístico, propõe-se a identificar aspectos da história, saberes educativos e a perspectiva como movimento social. Como metodologia, a investigação com aplicação de questionários. As declarações dialogaram com a bibliografia e documentos. No desenvolvimento, reflexões sobre o tema com conceitos da filosofia e educação. O pensamento de Karl Marx e Paulo Freire, em referências como práxis e opressão, balizam a reflexão. Também são abordados os conceitos de indústria cultural e multiculturalismo. A base teórica contrasta com o empírico. Cada entrevistado representa um dos quatro elementos que constituem o Hip Hop. Nas declarações, história pessoal, descoberta e envolvimento com o Hip Hop. Também a manifestação popular como fonte de aprendizado. Experiências em escolas, com oficinas e palestras. Educação não formal e o Hip Hop escolar.Movimento como espaço político de denúncia, reivindicação e ações coletivas. Abordagens sobre a questão étnico-racial. Preconceito, discriminação e racismo. Nos relatos a cultura da periferia. Movimento que resgata diante da realidade de drogadição e violência. A pesquisa também perpassa conceitos como capitalismo e pós-modernidade. Como resultado da pesquisa, movimento Hip Hop que apresenta ambiguidades. Mas também Hip Hop pelotense com potencial crítico, educativo e de mobilização coletiva.
This dissertation focuses on the Hip Hop movement in Pelotas. Through four interviews and journalistic material, it is proposed to identify aspects of the history, educational knowledge and perspective as a social movement. The methodology research will be through questionnaires. The statements are interconnect with bibliografy and documents. In the development, reflections on the topic concepts of philosophy and education. The thoughts of Karl Marx and Paulo Freire, references as praxis and oppression, mark out the reflection. Will be also presented the cultural industry concepts and multiculturalism aspects. Theoretical concepts contrasting with the empirical basics. Each enterviewed person represents that make up the Hip Hop in each statements, personal history, discovery and involvement with Hip Hop that is also a popular manifestation as a source of learning experiments in schools, workshops and lectures. Informal education and Hip Hop School. Movement as a political complaint, as claim and collective actions. Approaches to ethnic-racial issue. Prejudice, discrimination and racism. In the reports the culture of the suburbs. Movement that rescues before the reality of drug addiction and violence. The survey also permeates concepts as capitalism and postmodernity. But also Pelotas’ hip hop as a critical and educational component, with potential collective mobilization as potential.
Morris, David Z. "Minzoku madness: hip hop and Japanese national subjectivity". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/558.
Texto completo