Статті в журналах з теми "Génération solaire"

Ce travail est consacré à l’étude et la réalisation pratique d’un variateur de vitesse d’un moteur à courant continu à aimant purement pour le séchage solaire. Les tâches de ce travail sont: la génération d’un signal triangulaire, la comparaison entre le signe e de référence et le signal triangulaire et la génération de la commande MLI, puis, nous avons réalisé le circuit de puissance (hacheur série). Le séchage solaire demeure à l’état expérimental. Dans ce but, notre travail se veut une contribution à une meilleure connaissance des mécanismes de transfert de l’humidité (migration interne) et les transferts de chaleur et de masse à l’interface produit – air, ainsi que des caractéristiques générales de l’air asséchant (humidité, débit, etc.).

En 1868, Lockyer et Janssen ont montré qu’il etait possible de faire un relevé journalier de la chromosphère et des protubérances au bord du Soleil en dehors des éclipses totales en utilisant un spectroscope. De 1892 á 1894, H. Deslandres, installé á l’Observatoire de Paris, montra “que la chromosphère entière est décelable dans la demi- sphère tournée vers la Terre” á l’aide d’un petit spectrohéliographe et d’un spectro-enregistreur de vitesses. Avec ces instruments de première génération il obtient des images de la chromosphère de calcium. “L’analyse spectrale et l’application du spectrohéliographe aux raies du spectre solaire ouvre un champ nouveau d’investigation extrêmement vasteȍ ècrit-il. Mai á l’aise á Paris pour développer ses recherches, il s’installe á Meudon. Lá, tout est á faire et il trouve peu de ressources. Il crée un sidérostat et un petit bâtiment pour recevoir les deux petits instruments de Paris, qu’il utilisera jusqu’en 1906. Mais en 1899 il a fait entrer á l’Observatoire de Meudon Lucien d’Azambuja, un jeune homme de 15 ans, soigneux et habile de ses mains pour l’aider dans ses installations et participer aux observations et aux recherches en cours.

Avec les besoins croissants en énergie renouvelable, les activités industrielles dans le domaine du photovoltaïque gagnent une place considérable dans le secteur de l’énergie. Afin d’être en adéquation avec ce marché de l’emploi en plein développement, il devient important de former des ingénieurs compétents dans ce domaine. Un TP a été développé au CIME Nanotech pour simuler, élaborer et caractériser des cellules photovoltaïques de première génération. Le travail de simulation (sur SILVACO®) porte sur les procédés de fabrication de la cellule, ainsi que sur sa réponse I-V sous éclairement. La fabrication (effectuée dans la salle blanche du CIME Nanotech) comprend essentiellement les étapes suivantes : (1) texturation de la surface d’un substrat de silicium (2) réalisation d’une jonction pn, (3) dépôt d’une couche anti-reflet et (4) métallisation. Au-delà de la confrontation aux procédés de fabrication en salle blanche, les étudiants appréhendent l’importance d’étapes technologiques comme, par exemple, la texturation ou la couche anti-reflet ainsi que le rôle de la géométrie, telle que le motif de métallisation. Ces cellules sont ensuite testées électriquement par la mesure des caractéristiques I-V sous obscurité et sous simulateur solaire. Les rendements et autres paramètres caractéristiques (facteur de forme, résistance série…) de chaque cellule sont ensuite calculés et comparés.

Compte tenu de l’épuisement des énergies utilisées actuellement, telles que les énergies fossiles, et du constat établi par les experts concernant les exigences écologiques, il est nécessaire de trouver des nouvelles sources d’énergies afin de préserver les ressources planétaires pour les générations futures. Dans le contexte actuel, l’énergie solaire est de loin la plus intéressante et la plus avantageuse. Notre objectif est de l’utiliser dans l’habitat. Ainsi notre travail consiste en une conception et adaptation d’une maison thermo - solaire, qui permet un stockage suffisamment important de la chaleur qui provient des rayons solaires, de façon à se passer des énergies d’appoint, en utilisant des dispositifs nécessaires pour une autonomie totale tel que le dimensionnement et l’orientation des murs, par rapport au soleil, les matériaux solaires utilisés et l’aspect architectural de la maison.

La densification urbaine et l’apport solaire sont deux enjeux majeurs impactant le développement des morphologies urbaines durables. Cet article propose une approche de conception générative de morphologie de bâtiments qui se veut résiliente et équitable par l’intégration des ressources du contexte immédiat. Nous proposons l’enveloppe solaire par échange d’ombrage comme enveloppe dérivée de l’enveloppe solaire de Knowles. Nous proposons une méthode garantissant à la fois l’accès solaire et la densification par l’échange d’ombrage entre bâtiments voisins. Le modèle propose différentes solutions de densité en faisant varier le taux d’échange d’ombrage. Nous présentons le modèle et discutons les résultats de son expérimentation sur trois parcelles voisines. Les résultats sont encourageants pour renouveler les règles morphologiques urbaines et proposer une stratégie passive de densification adaptée aux changements climatiques. La conception générative offre de nouveaux horizons pour l’établissement d’un instrument de décision basé sur la combinaison de l’accès solaire et de la densification urbaine. Il s’agit de répondre à une problématique d’actualité cherchant à optimiser la densité urbaine et d’apport solaire passif par une meilleure exploitation de la morphologie solaire et des ressources du contexte immédiat.

Dans cet article, nous présentons la nouvelle génération de cellules photovoltaïques à base de matériaux pérovskite. Différents paramètres influent sur les performances des cellules tels que l’architecture, le type du matériau utilisé pour la couche active, les techniques d’élaboration et de préparation des différentes couches. Le précurseur utilisé dans la préparation de la couche de transport d’électrons dioxyde de titane TiO2 influent sur le rendement des cellules. L’utilisation de l’oxyde de graphène comme couche de transport de trous améliore le rendement et la stabilité des cellules, de nouvelles architectures d’électrode sont proposées. Le travail de sortie du graphène GR peut être contrôlé par variation de la concentration d’un dopant chimique, tel que le tri-chlorure d’or, AuCl3 et le bore. Un rendement de 15.77 % est obtenu en dopant le graphène par 10 mM de AuCl3. Cette couche dopée est utilisée comme couche protectrice, elle permet d’améliorer l’efficacité de conversion et la stabilité des cellules. Le dopage de la couche pérovskite avec le bromure de cuivre améliore aussi le rendement des cellules.

Depuis les débuts du xxe siècle, il y a eu plusieurs prêtres et religieux/religieuses qui ont contribué à la propagation de la culture populaire chez nous, tels l’abbé Adrien Verrette, le père Henri d’Arles, soeur Solange Bernier et soeur Mary-Carmel Therriault. Ils ont su partager leurs connaissances sur la langue, l’histoire et l’héritage d’une collectivité dénommée franco-américaine. Grâce à eux, l’héritage des Franco-Américains a été préservé jusqu’à la quatrième sinon la cinquième génération et les résultats de l’assimilation furent éloignés.

Les piles microbiennes à plante (PMP), sont des systèmes bioélectrochimiques très prometteurs pour la génération d’une énergie verte renouvelable et durable. Dans la présente étude, la possibilité de générer de la bioélectricité à partir de l’énergie solaire et de la biomasse a été démontrée, sur les principes de l’activité biologique du sol en utilisant une plante vivante Watsonia sp cueillie du jardin du CDER. Le suivi de la génération de la bioélectricité en présence de la plante nous a permis d’enregistrer un rendement de 90 % plus important par rapport à celui généré en son absence. Une production de courant atteignant 0.1 mA est obtenue dans les conditions d’ensoleillement. Des pics des valeurs les plus élevées du courant, sont enregistrés aux moments d’intensité lumineuse importante de la journée (entre 12 h -14 h), ce qui a été confirmé par la réduction de la tension de plus de 30% quand Watsonia sp était placée à l’éclairage du laboratoire. La plante Watsonia sp présente donc un excellent outil biologique pour la production de la bioélectricité. Le rendement en courant peut être augmenté en optimisant les conditions physico-chimiques (sol, pH, température, nutriments….) et électrochimiques (matériaux des électrodes) ou en adoptant une autre espèce de plante.

L’objectif de ce travail est d’étudier et de concevoir un onduleur solaire, d’une puissance de sortie d’environ 1 kVA avec une tension d’entrée de 12 VDC et une sortie à onde purement sinusoïdale de 230 VAC à une fréquence de 50 Hz. Les améliorations apportées à l’onduleur se situent essentiellement au niveau de la commande, avec tout d’abord, la génération d’une onde purement sinusoïdale, mais également la surveillance de la tension d’entrée et de la tension de sortie, ainsi que la température des interrupteurs électroniques, ce qui permettrait de préserver le bon fonctionnement de l’onduleur. Bien conscient que le sujet est extrêmement vaste, la conception a aussi porté sur la partie électronique de puissance. La partie commande est un microcontrôleur (16F876A) qui permet d’assurer la commande et la surveillance de l’onduleur.

Dans cette étude, nous utilisons deux (02) méthodes de génération pour élaborer cinq (05) années types de sorte à déterminer la plus performante ou représentative. Ces années sont générées en utilisant des données de la température de l’air, de l’humidité relative de l’air, de la vitesse du vent et du rayonnement solaire sur une période de quinze (15) ans, allant de 1992 à 2006. Nous procédons ensuite au calcul des données horaires du rayonnement global, diffus et direct en combinant les notions d’années types et de journées types. Enfin, la modélisation d’un bâtiment sous CoDyBa a permis de calculer les ratios de consommation d’énergie, qui varient entre 349,38 et 356,63 kWh/m2 climatisé/an selon les données de l’année type utilisée. Ces valeurs se situent dans la plage de consommation d’énergie des bâtiments publics et privés du secteur tertiaire en Afrique subsaharienne. Les erreurs relatives obtenues pour les années types et celles de Météonorm varient entre -1% et 2%. Ainsi, les courbes des fréquences cumulées des données horaires des températures de l’air et des humidités relatives, montrent que les données de Sandia 4 paraissent les plus représentatives.

Murray Forman’s text The ‘Hood Comes First: Race, Space, and Place in Rap and Hip-Hop provides insightful commentary on the workings of and relationship between place and space. To highlight the difference of scale between these two parameters, he writes that, “place defines the immediate locale of human interaction in the particular, whereas space is the expanse of mobile trajectories through which subjects pass in their circulation between or among distinct and varied places” (25). This statement reflects Doreen Massey’s earlier observation from her book Space, Place, and Gender that “one view of a place is as a particular articulation” of the spatial (5). These descriptions clarify how human action shapes, and is shaped by, what Forman describes as the “more narrowly circumscribed parameters” of place (25) and the broader realm of space. Clearly, these two terms describe interconnected components that are socially constructed and dynamic: that is, they operate at different scales but are constructed in time, constantly reshaped by human action and perception. “Space and time are inextricably interwoven,” states Massey. She continues: “It is not that the interrelations between objects occur in space and time; it is these relationships themselves which create/define space and time” (261). If place and space represent different scales of social interaction and space and time are interconnected, place and time must be linked as well.While this indicates that human experience and representation operate on different scales, it is important to note that these two factors are also interrelated. As Stuart Hall writes, “[I]t is only through the way in which we represent and imagine ourselves that we come to know how we are constituted and who we are” (473). There is no objective experience, only that which is subjectively represented through various means. Through depictions of these relationships between place, space, and time, rap music shapes listeners’ comprehension of these parameters. DJs, MCs, producers, and other creative artists express personal observations through the influence of both the local and global, the past and present. In rap lyrics and their musical accompaniment, countries, cities, neighbourhoods, and even specific government housing developments inform the music, but the identities of these places and spaces are not fixed – for the performers or for the audience. They are more than the backdrop for what happens, inanimate structures or coordinates of latitude and longitude. Their dynamic nature, and their representation in music, serves to continually redefine “how we are constituted and who we are” (473).In MC Solaar’s Léve-toi et Rap from his 2001 album Cinquième as and his song Nouveau Western, from 1994’s Prose Combat, this is demonstrated in two very different ways. Léve-toi et Rap, a personal history told in the first person, clearly demonstrates both American hip-hop lineage and the transnational influences of Solaar’s upbringing. This song serves as an example of the adoption of American musical and lyrical techniques as means through which personally empowering, often place-based stories are told. In Nouveau Western, the narrative demonstrates the negative effects of globalization through this story about a geographically and temporally transported American cowboy. This track employs musical materials in a way that reflects the more critical lyrical commentary on the repercussions of American cultural and economic power. Through the manner of his storytelling, and through the stories themselves, MC Solaar explicitly demonstrates his own agency in representing, and thus constructing the meaning of, dynamic place and space as they are defined from these two perspectives.As a Paris-based French rapper, MC Solaar often makes his affiliation to this geographic focal point significant in his lyrics. This is especially clear in Léve-toi et Rap, in which Parisian banlieues (HLM government housing projects), nightclubs, and other places figure prominently in the text. From the lyrics, one learns a great deal about this rapper and his background: MC Solaar was born in Senegal, but his parents brought him to France when he was young (MC Solaar, “Léve-toi et Rap”; Petetin, 802, 805). He grew up struggling with the isolation and social problems of the banlieues and the discrimination he faced as an immigrant. He began rapping, established a musical career, and now encourages others to rap as a means of making something constructive out of a challenging situation. In the excerpt below, MC Solaar explains these origins and the move to the banlieues (Solaar, “Lève-toi et rap;” All translations by the author).Lève-toi et rap elaborates on the connection between the local and global in rap music, and between place, space, and time. The lyrics and music represent these properties in part by appropriating American rap’s stylistic practices. The introductory chorus incorporates sampled lyrics of the American artists Lords of the Underground, the Beastie Boys, Nas, and Redman (Various Contributors, “‘Lève-toi et rap’ Direct Sample of Vocals/Lyrics,” whosampled.com.). A bassline originally recorded by the funk group The Crusaders grounds the musical accompaniment that begins with the first verse (partially printed above), in which MC Solaar begins to depict his own place and space as he has experienced it temporally.In this chorus, the first sample is “I remember way back in the days on my block” from Lords of the Underground’s song Tic-Toc. This leads to “Oh My God” and “Ah, Ah, Ah,” both samples from Q-Tip’s contribution to the Beastie Boys’ song Get It Together. “I Excel,” which appears in Nas’s It Ain’t Hard to Tell comes next. The last sample, “Who Got the Funk,” is from Can’t Wait by Redman (Lords of the Underground, “Tic-Tic;” Beastie Boys and Q-Tip, “Get It Together;” Nas, “It Ain’t Hard to Tell;” The Crusaders, “The Well’s Gone Dry”).Scratching begins the introductory chorus (printed below), which ends with a voice announcing “MC Solaar.” At this point, the sampled bassline from The Crusaders’ 1974 song The Well’s Gone Dry begins.[Scratching]I remember back in the days on my block... Lords of the UndergroundOh my God... Ah, Ah, Ah... Beastie Boys and Q-TipI excel… NasWho got the funk... RedmanMC Solaar[Crusaders sample begins] The rap samples all date from 1994, the year Solaar released his well-received album Prose Combat and most are strategically placed: the first sample originated in the last verse of Tic-Toc, the Q-Tip samples in the middle are from the middle of Get It Together, and the last sample, “I Excel,” is from the first line of It Ain’t Hard to Tell. As Lève-toi et rap continues, MC Solaar’s statement of the song title itself replaces the iteration “MC Solaar” of the first chorus. In a sense, “Lève-toi et rap” becomes the last sample of the chorus. Through these American references, Solaar demonstrates an affiliation with the place in which rap is commonly known to have originally coalesced. For French rappers consciously working to prove their connection to rap’s lineage, such demonstrations are useful (Faure and Garcia, 81-82). Achieved by sampling music and lyrics from 1974 and 1994 from sources that are not all that obvious to a casual listener, Solaar spatially connects his work to the roots of rap (Shusterman, 214). These particular samples also highlight a spatial relationship to particular styles of rap that represent place and space in particular ways. Nas and Lords of the Underground, for instance, have added to the discourse on street credibility and authenticity, while Q-tip has provided commentary on social and political issues. MC Solaar’s own story widens the parameters for illustrating these concepts, as he incorporates the personally significant places such as Senegal, Chad, and the Saint Denis banlieue to establish street credibility on a transnational scale; the lyrics also describe serious social and political issues, including the “skinheads” he encountered while living in Paris. Dynamic place is clear throughout all of this, as everything occurring in these places is meaningful in part because of the unavoidable relationship with the passing of time – Solaar’s birth, his upbringing, and his success occurred through his choices and social interactions in specific places.Looking more closely at the representation of place and time, Lève-toi et rap is less than straightforward. As discussed previously, some of the vocal samples are rearranged, demonstrating purposeful alteration of pre-recorded material; in contrast, the use of a repeated funk bassline sample during a clear narrative of Solaar’s life juxtaposes a linear story with a non-linear musical accompaniment. To this, MC Solaar made a contemporary textual contribution to later choruses, with the title of the song added as the chorus’s last line. Such manipulation in the context of this first-person narrative to express this movement supports the conclusion that, far from being a victim of political and economic forces, MC Solaar has used them to his advantage. After all, the title of the song itself, Lève-toi et rap, translates roughly to “get up and rap.”In addition to manipulating the materials of American rap and funk for this purpose, Solaar’s use of verlan, a type of slang used in the banlieues, brings another level of locality to Lève-toi et rap. The use of verlan brings the song’s association with French banlieue culture closer: by communicating in a dialect fluently understood by relatively few, rappers ensure that their message will be understood best by those who share the constellation of social and temporal relations of these housing developments (Milon, 75). Adding verlan to other slang and to unique grammatical rules, the rap of the banlieues is to some extent in its own language (Prévos, “Business” 902-903).Referring to MC Solaar’s 1994 album Prose Combat, André Prévos observed that this material “clearly illustrates the continuity of this tradition, all the while adding an identifiable element of social and personal protest as well as an identifiable amount of ‘signifying’ also inspired by African American hip-hip lyrics” (Prévos, “Postcolonial” 43). While it is clear at this point that this is also true for Lève-toi et rap from Cinquème as, Nouveau Western from Prose Combat demonstrates continuity in different way. To start, the samples used in this song create a more seamless texture. A sample from the accompaniment to Serge Gainsbourg’s Bonnie and Clyde from 1967 undergirds the song, providing a French pop reference to a story about an American character (Various Contributors, “Nouveau Western” whosampled.com). The bassline from Bonnie and Clyde is present throughout Nouveau Western, while the orchestral layer from the sample is heard during sections of the verses and choruses. Parts of the song also feature alto saxophone samples that provide continuity with the jazz-influenced character of many songs on this album.The contrasts with Lève-toi et rap continue with the lyrical content. Rather than describing his own process of acquiring knowledge and skill as he moved in time from place to place, in Nouveau Western MC Solaar tells the story of a cowboy named “Harry Zona” who was proud and independent living in Arizona, hunting for gold with his horse, but who becomes a victim in contemporary Paris. In the fabled west, the guns he carries and his method of transportation facilitate his mission: Il erre dans les plaines, fier, solitaire. Son cheval est son partenaire [He wanders the plains, proud, alone. His horse is his partner.]. After suddenly being transported to modern-day Paris, he orders a drink from an “Indian,” at a bistro and “scalps” the foam off, but this is surely a different kind of person and practice than Solaar describes Harry encountering in the States (MC Solaar, “Nouveau Western”).After leaving the bistro, Harry is arrested driving his stagecoach on the highway and shut away by the authorities in Fresnes prison for his aberrant behaviour. His pursuit of gold worked for him in the first context, but the quest for wealth advanced in his home country contributed to the conditions he now faces, and which MC Solaar critiques, later in the song. He raps, Les States sont comme une sorte de multinationale / Elle exporte le western et son monde féudal / Dicte le bien, le mal, Lucky Luke et les Dalton [The States are a kind of multinational”/ “They export the western and its feudal way/ Dictate the good the bad, Lucky Luke and the Daltons] (MC Solaar, “Nouveau Western”).Harry seems to thrive in the environment portrayed as the old west: as solitary hero, he serves as a symbol of the States’ independent spirit. In the nouveau far west [new far west] francophone comic book characters Lucky Luke and the Daltons sont camouflés en Paul Smith’s et Wesson [are camouflaged in Paul Smith’s and Wesson], and Harry is not equipped to cope with this confusing combination. He is lost as he negotiates le système moderne se noie l’individu [the modern system that drowns the individual]. To return to Bonnie and Clyde, these ill-fated and oft-fabled figures weren’t so triumphant either, and in Gainsbourg’s song, they are represented by 1960s French pop rather than by even a hint of local 1930s musical traditions. “Harry Zona” is not the only person whose story unfolds through the lens of another culture.While Solaar avoids heavy use of verlan or other Parisian slang in this song, he does use several American cultural references, some of which I have already mentioned. In addition, the word “western” refers to western movies, but it also serves as another term for the United States and its cultural exports. “Hollywood” is another term for the west, and in this context MC Solaar warns his listeners to question this fictional setting. Following his observation that John Wayne looks like Lucky Luke, “well groomed like an archduke,” he exclaims Hollywood nous berne, Hollywood berne! [Hollywood fooled us! Hollywood fools!]. This is followed by, on dit gare au gorille, mais gare à Gary Cooper [as they say watch out for the gorilla, watch out for Gary Cooper]. Slick characters like the ones Gary Cooper played have ultimately served as cultural capital that has generated economic capital for the “multinational” States that Solaar describes. As Harry moves “epochs and places,” he discovers that this sort of influence, now disguised in fashion-forward clothing, is more influential than his Smith and Wesson of the old west (MC Solaar, “Nouveau Western”).It is important to note that this narrative is described with the language of the cultural force that it critiques. As Geoffrey Baker writes, “MC Solaar delves into the masterpieces and linguistic arsenal of his colonizers in order to twist the very foundations of their linguistic oppression against them” (Baker, 241). These linguistic – and cultural – references facilitate this ironic critique of the “new Far West”: Harry suffers in the grip of a more sophisticated gold rush (MC Solaar, “Nouveau Western”).Lève-toi et rap transforms musical and verbal language as well, but the changes are more overt. Even though the musical samples are distinctly American, they are transformed, and non-American places of import to MC Solaar are described with heavy use of slang. This situates the song in American and French cultural territory while demonstrating Solaar’s manipulation of both. He is empowered by the specialized expression of place and space, and by the loud and proud references to a dynamic upbringing, in which struggle culminates in triumph.Empowerment through such manipulation is an attractive interpretation, but because this exercise includes the transformation of a colonizer’s language, it ultimately depends on understanding rap as linked to some extent to what Murray Forman and Tricia Rose describe as “Western cultural imperialism” (Rose, 19; Forman, 21). Both Rose and Forman point out that rap has benefitted from what Rose describes as “the disproportionate exposure of U.S. artists around the world,” (Rose, 19) even though this music has provided an avenue through which marginalized groups have articulated social and political concerns (Rose, 19; Forman 21). The “transnational circulation of contemporary culture industries” that Forman describes (21) has benefitted multinational corporations, but it has also provided new means of expression for those reached by this global circulation. Additionally, this process has engendered a sense of community around the world among those who identify with rap’s musical and lyrical practices and content; in many cases, rap’s connection to the African diaspora is a significant factor in the music’s appeal. This larger spatial connection occurs alongside more locally place-based connections. Lève-toi et rap clearly manifests this sense of simultaneously negotiating one’s role as a global citizen and as an individual firmly grounded in the place and space of local experience.Even though rap has been a music of resistance to hegemonic social and economic forces for people around the world, it is nonetheless important to recognize that the forces that have disseminated this music on a global scale have contributed to the unequal distribution of wealth and power. Working within this system is almost always unavoidable for rappers, many of whom criticize these conditions in their music, but depend on these transnational corporations for their success. Paul A. Silverstein writes that “hip-hop formations themselves, while enunciating an explicit critique of both state interventionism and the global market, have directly benefited from both and, to be sure, simultaneously desire their end and their continuation” (47-48). This is very clear in Nouveau Western, which Silverstein writes “portrayed neo-liberalism as a ‘new Far West’ where credit cards replace Remingtons.” (48) That this critique has reached a large audience in the francophone world and elsewhere highlights the irony of the situation: under the current system of popular musical production and circulation, such material often must reach its audience through complicity with the very system it denounces. This view on the mixture of the local and global presented in these songs illustrates this confusing situation, but from another perspective, the representation of social interaction on varying scales connects to the factors that have contributed to rap since its inception. Local places and geographically broad spatial connections have been articulated in constantly changing ways through musical and lyrical sampling, original lyrical references, and the uses that creators, listeners, and the industry enact vis-à-vis global rap culture. Whether revealed through clear references to American rap that facilitate a personal narrative or through a more complicated critique of American culture, MC Solaar’s songs Lève-toi et rap and Nouveau Western expose some accomplishments of a French rapper whose work reveals personal agency both outside and within the “multinational” United States. ReferencesBaker, Geoffrey. “Preachers, Gangsters, Pranksters: MC Solaar and Hip-Hop as Overt and Covert Revolt.” The Journal of Popular Culture 44 (2011): 233-54.Beastie Boys and Q-Tip. “Get It Together.” Ill Communication. Grand Royal Records, 1994. CD.Faure, Sylvia, and Marie-Carmen Garcia. “Conflits de Valeurs et Générations.” Culture Hip Hop Jeunes des Cités et Politiques Publiques. Paris: La Dispute SNÉDIT, 2005. 69-83. Forman, Murray. “Space Matters: Hip-Hop and the Spatial Perspective.” The ‘Hood Comes First: Race, Space and Place in Rap and Hip-Hop. Middletown: Wesleyan UP, 2002. 1- 34. Hall, Stuart. “What Is This ‘Black’ in Black Popular Culture?” Critical Dialogues in Cultural Studies, Edited by David Morley and Kuan-Hsing Chen. London: Routledge, 1996. 465-475. Lords of the Underground. “Tic-Tic.” Keepers of the Funk. Pendulum Records, 1994. CD.Massey, Doreen. Space, Place and Gender. Minneapolis: U of Minnesota Press, 1994. 19-24.Milon, Alain. “Pourquoi le Rappeur Chante? Le Rap comme Expression de la Relégation Urbaine.” Cités 19 (2004): 71-80.MC Solaar (Claude M’Barali). “Lève-toi et rap.” Cinquème as. Wea International, 2001. CD.———. “Nouveau Western.” Prose Combat. Cohiba, 1994. CD.Nas. “It Ain’t Hard to Tell.” Illmatic. Columbia Records, 1994. CD.Petetin, Véronique. “Slam, Rap, et ‘Mondialité.” Études 6 (June 2009): 797-808.Prévos, André J.M. “Le Business du Rap en France.” The French Review 74 (April 2001): 900-21.———. “Postcolonial Popular Music in France.” Global Noise: Rap and Hip-Hop outside the USA. Ed. Tony Mitchell. Middletown: Wesleyan UP, 2001. 39-56. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown: Wesleyan UP, 1994.Shusterman, Richard. “L’Estitique Postmoderne du Rap.” Rue Deseartes 5/6 (November 1992): 209-28.Silverstein, Paul A. “‘Why Are We Waiting to Start the Fire?’: French Gangsta Rap and the Critique of State Capitalism.” Black, Blanc, Beur: Rap Music and Hip-Hop Culture in the Francophone World. Ed. Alain-Philippe Durand. Oxford: Scarecrow Press, 2002. 45-67. The Crusaders. “The Well’s Gone Dry.” Southern Comfort. ABC/Blue Thumb Records, 1974. CD.Various Contributors. “‘Lève-toi et rap’ Direct Sample of Vocals/Lyrics.” whosampled.com.———. “‘Nouveau Western’ Direct Sample of Hook/Riff.” whosampled.com.Various Contributors. “MC Solaar – ‘Lève-toi et rap’ Lyrics.” Rap Genius.