COMPARATIVE LITERATURE (Div
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Struggles of the Black Female Voice in Rap
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 2016 Stealing the Mic: Struggles of the Black Female Voice in Rap Miranda Flores Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Flores, Miranda, "Stealing the Mic: Struggles of the Black Female Voice in Rap" (2016). Undergraduate Honors Thesis Collection. 347. https://digitalcommons.butler.edu/ugtheses/347 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Stealing the Mic: Struggles of the Black Female Voice in Rap A Thesis Presented to The Honors Program of Butler University In Partial Fulfillment Of the Requirements for Graduation Honors Miranda R. Flores May 5, 2016 “You’ve taken my blues and gone-You sing ‘em on Broadway-And you sing ‘em in Hollywood Bowl- And you mixed ‘em up with symphonies-And you fixed ‘em-So they don’t sound like me. Yep, you done taken my blues and gone” -Langston Hughes From Langston Hughes to hip hop, African Americans have a long history of white appropriation. Rap, as a part of hip hop culture, gave rise to marginalized voices of minorities in the wake of declining employment opportunities and racism in the postindustrial economy beginning in the 1970s (T. Rose 1994, p. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Am Lit 1945-Present List
Renee Hudson American Literature 1945-Present (Ngai) Primary Texts: 1. A Streetcar Named Desire by Tennessee Williams (1947) 2. Strangers on a Train by Patricia Highsmith (1950) 3. The Invisible Man by Ralph Ellison (1953) 4. A Good Man is Hard to Find by Flannery O’Connor (1955) 5. Howl by Allen Ginsberg (1956) 6. Catch-22 by Joseph Heller (1961) 7. Who’s Afraid of Virginia Woolf? by Edward Albee (1962) 8. The Man in the High Castle by Philip K. Dick (1962) 9. Lunch Poems by Frank O’Hara (1964) 10. Ariel by Sylvia Plath (1965) 11. Mumbo Jumbo by Ishmael Reed (1972) 12. Gravity’s Rainbow by Thomas Pynchon (1973) 13. Ragtime by E. L. Doctorow (1975) 14. Meridian by Alice Walker (1976) 15. Buried Child by Sam Shepard (1978) 16. Sixty Stories by Donald Barthelme (1982) 17. Dictee by Theresa Hak Kyung Cha (1982) 18. Great Expectations by Kathy Acker (1983) 19. Blood Meridian by Cormac McCarthy (1985) 20. White Noise by Don DeLillo (1985) 21. Beloved by Toni Morrison (1987) 22. The Mezzanine by Nicholson Baker (1990) 23. Woman Hollering Creek by Sandra Cisneros (1991) 24. Patchwork Girl by Shelley Jackson (1995) 25. Infinite Jest by David Foster Wallace (1996) 26. Tropic of Orange by Karen Tei Yamashita (1997) 27. American Pastoral by Philip Roth (1997) 28. Palestine by Joe Sacco (2001) 29. Pattern Recognition by William Gibson (2003) 30. The Brief Wondrous Life of Oscar Wao by Junot Diaz (2007) Renee Hudson Secondary Texts: 1. The Society of the Spectacle by Guy Debord (1973) 2. -
Hip-Hop Ethos
humanities Article Hip-Hop Ethos Anthony Kwame Harrison * and Craig E. Arthur Department of Sociology, Virginia Tech, Blacksburg, VA 24061, USA; [email protected] * Correspondence: [email protected] Received: 12 February 2019; Accepted: 17 February 2019; Published: 27 February 2019 Abstract: This article excavates the ethos surrounding hip hop, starting from the proposition that hip hop represents a distinct yet pervasive expression of contemporary black subjectivity, which crystalized in 1970s New York City and has since proliferated into a potent ethos of the subaltern embraced within socially marginalized youth communities throughout the world. The article begins by outlining the black diasporic traditions of expressive performance that hip hop issues from, as discussed through the work of Zora Neale Hurston and Amiri Baraka. In the remainder of the article, a blueprint of hip hop’s ethos is presented based on five fundamental tenets: (1) properties of flow, layering, and rupture; (2) a principle of productive consumption; (3) the production of excessive publicity or promotion—what hip-hop affiliates refer to as “hype”; (4) embracing individual and communal entrepreneurship; and (5) a committed politics of action and loyalty. While acknowledging hip hop’s malleability and refusal to be neatly characterized, the article maintains that its characteristic spirit embodies these core doctrines. Keywords: hip hop; black aesthetics; New York; flow; layering; rupture; productive consumption; hype; entrepreneurship; politics; counter-knowledge 1. Introduction The contributions to this special issue aim to reinvigorate contemporary discussions surrounding ethos and its implications for the value and meaningfulness assigned to varieties of lived human experience. An aspect of this involves demonstrating the complexity of understandings and applications of ethos as a concept. -
COMPARATIVE LITERATURE (Div
COMPARATIVE LITERATURE (Div. I) Chair, Associate Professor CHRISTOPHER NUGENT Professors: BELL-VILLADA, CASSIDAY, DRUXES, S. FOX, FRENCH, KAGAYA**, NEWMAN***, ROUHI, VAN DE STADT. Associate Professors: C. BOLTON***, DEKEL, S. FOX, HOLZAPFEL, MARTIN, NUGENT, PIEPRZAK***, THORNE, WANG**. Assistant Professors: BRAGGS*, VARGAS. Visiting Assistant Professor: EQEIQ. Students motivated by a desire to study literary art in the broadest sense of the term will find an intellectual home in the Program in Comparative Literature. The Program in Comparative Literature gives students the opportunity to develop their critical faculties through the analysis of literature across cultures, and through the exploration of literary and critical theory. By crossing national, linguistic, historical, and disciplinary boundaries, students of Comparative Literature learn to read texts for the ways they make meaning, the assumptions that underlie that meaning, and the aesthetic elements evinced in the making. Students of Comparative Literature are encouraged to examine the widest possible range of literary communication, including the metamorphosis of media, genres, forms, and themes. Whereas specific literature programs allow the student to trace the development of one literature in a particular culture over a period of time, Comparative Literature juxtaposes the writings of different cultures and epochs in a variety of ways. Because interpretive methods from other disciplines play a crucial role in investigating literature’s larger context, the Program offers courses intended for students in all divisions of the college and of all interests. These include courses that introduce students to the comparative study of world literature and courses designed to enhance any foreign language major in the Williams curriculum. In addition, the Program offers courses in literary theory that illuminate the study of texts of all sorts. -
Considering Ethical Questions in (Non)Fiction: Reading and Writing About Graphic Novels
e Interdisciplinary Journal of Popular Culture and Pedagogy Considering Ethical Questions in (Non)Fiction: Reading and Writing about Graphic Novels Gene McQuillan Kingsborough Community College /The City University of New York Brooklyn, NY, USA [email protected] ABSTRACT Teachers often feature graphic novels in college courses, and recent research notes how these texts can help make the process of reading more engaging as well as more complex. Graphic novels help enhance a variety of “literacies”; they offer bold representations of people dealing with trauma or marginalization; they explore how “texts” can be re-invented; they exemplify how verbal and visual texts are often adapted; they are ideal primers for introducing basic concepts of “post-modernism.” However, two recurring textual complications in graphic novels can pose difficulties for students who are writing about ethical questions. First, graphic novels often present crucial scenes by relying heavily on the use of verbal silence (or near silence) while emphasizing visual images; second, the deeper ethical dimensions of such scenes are suggested rather than discussed through narration or dialogue. This article will explain some of the challenges and options for writing about graphic novels and ethics. Keywords: Graphic novels; ethics; literacies; Art Spiegelman; Maus; Alison Bechdel; Fun Home 38 Volume 5, Issue 1 Considering Ethical Questions in (Non)Fiction I am committed to using graphic novels in my English courses. This commitment can be a heavy one- -in my case, it sometimes weighs about 40 pounds. If one stopped by my Introduction to Literature course at Kingsborough Community College (the City University of New York), one could see exactly what I mean. -
Comics As a Medium Dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds David Eric Low University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Education Commons Recommended Citation Low, David Eric, "Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds" (2015). Publicly Accessible Penn Dissertations. 1090. https://repository.upenn.edu/edissertations/1090 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1090 For more information, please contact [email protected]. Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds Abstract Literacy scholars have argued that curricular remediation marginalizes the dynamic meaning-making practices of urban youth and ignores contemporary definitions of literacy as multimodal, socially situated, and tied to people's identities as members of cultural communities. For this reason, it is imperative that school-based literacy research unsettle status quos by foregrounding the sophisticated practices that urban students enact as a result, and in spite of, the marginalization they manage in educational settings. A hopeful site for honoring the knowledge of urban students is the nexus of alternative learning spaces that have taken on increased significance in ouths'y lives. Many of these spaces focus on young people's engagements with new literacies, multimodalities, the arts, and popular media, taking the stance that students' interests are inherently intellectual. The Cabrini Comics Inquiry Community (CCIC), located in a K-8 Catholic school in South Philadelphia, is one such space. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Vol.4 No.2 ISSN 2518-3966
International Journal of Linguistics, Literature and Culture (LLC) June 2017 edition Vol.4 No.2 ISSN 2518-3966 International Journal of Linguistics, Literature and Culture (LLC) 2017 / June Publisher: European Scientific Institute, ESI Reviewed by the “International Journal of Linguistics, Literature and Culture” editorial board 2017 June 2017 edition vol. 4, no. 2 The contents of this journal do not necessarily reflect the opinion or position of the European Scientific Institute. Neither the European Scientific Institute nor any person acting on its behalf is responsible for the use which may be made of the information in this publication. ISSN 2518-3966 International Journal of Linguistics, Literature and Culture (LLC) June 2017 edition Vol.4 No.2 ISSN 2410-6577 About The Journal The “International Journal of Linguistics, Literature and Culture” (LLC) is a peer reviewed journal which accepts high quality research articles. It is a quarterly published international journal and is available to all researchers who are interested in publishing their scientific achievements. We welcome submissions focusing on theories, methods and applications in Linguistics, Literature and Culture, both articles and book reviews. All articles must be in English. Authors can publish their articles after a review by our editorial board. Our mission is to provide greater and faster flow of the newest scientific thought. LLC’s role is to be a kind of a bridge between the researchers around the world. “LLC” is opened to any researchers, regardless of their geographical origin, race, nationality, religion or gender as long as they have an adequate scientific paper in the educational sciences field. -
Diwan Ibrahim Tuqan (Edit), Beirut: Dar Al- Quds, 1975. 22- El-Asmar, Fouzi
Al-Quds University Journal for Research and Studies - No.5 - March 2005 21- Diwan Ibrahim Tuqan (Edit), Beirut: Dar al- Quds, 1975. 22- El-Asmar, Fouzi. The Wind Driven Reed. Washington: The three Continents press, 1974. 23- Fahmi, Mahir Hasan. Al-Ghurba wa-al-Hanan fi al-Shicr al-cArab?. Cairo: D?r al-Mac?rif, 1961. 24- Farrukh, cUmar, Shaciran Mucasiran, Beirut: al-Maktabah al-Ahliyyah, 1954. 25- Frazer, James, Adonis Aw Tammuz. Trans. Jabra. I. Jabra. 3rd. ed., Beir?t: al-Mussasa al- cArabiyyah, 1982. 26- Hilal, Muhammad Ghunaimi. Al-Romantikiyyah. Cairo: Dar al-Macarif, 1970. 27- Ismacil, cIzz al-Din. Al-Shicr al-cArabi al-Mucasir. Cairo: Dar al-Katib, 1967. 28- Jarrar, Walid Sadiq Sacid. Shaciran Min Jabal al-Nar, Amman: al- Sharq al-Awsat, 1985. 29- Kanafani, Ghassan. Adab al-Muqawamah Fi Falastin al-Muhtallah, Beirut: Dar al- Adab, 1968. 30- Khadir, Abbas. Adab al-Muqawamah, Cairo: Dar al-Kitab al- Arabi, 1968. 31- Majallat al-Sharq, “Fadwa Tuqan wal-Judran al-Thalathahò, Jerusalem, June & July, 1972. 32- Moreh, S. Modern Arabic Poetry. Leiden, E. J. Brill, 1976. 33- Mudarakat Fadwa Tuqan, Majalat al-Jadid, Haifa, 1978. 34- Sayigh, Anis & others. Falastiniyyat, Beirut: Markaz al-Abhath. 1st. group, 1968, 2nd gr. 1969. 35- Sayigh, Fayiz. Falastin wa-Israel wa al-Salim, Markaz al-Abhath (PLO), No. 17, Beirut, 1970. 36- Shukri, Ghali. Adab al-Muqawamah, Misr: Dar al-Macarif. 1st. ed. 1970. 37- Subhi, Muhyi al-Din, al-Adin, al-Adaa al-Fanni Fi Shir, Fadwa Tuqan in al-Mucallim al- Arabi, No. 7, the year 25, demascus, 1972. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
A Coalition of Societies Devoted to the Study of American Authors 28 Annual Conference on American Literature May 25 – 28, 20
American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 The Westin Copley Place 10 Huntington Avenue Boston, MA 02116 Conference Director: Olivia Carr Edenfield Georgia Southern University American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 Acknowledgements: The Conference Director, along with the Executive Board of the ALA, wishes to thank all of the society representatives and panelists for their contributions to the conference. Special appreciation to those good sports who good-heartedly agreed to chair sessions. The American Literature Association expresses its gratitude to Georgia Southern University and its Department of Literature and Philosophy for its consistent support. We are grateful to Rebecca Malott, Administrative Assistant for the Department of Literature and Philosophy at Georgia Southern University, for her patient assistance throughout the year. Particular thanks go once again to Georgia Southern University alumna Megan Flanery for her assistance with the program. We are indebted to Molly J. Donehoo, ALA Executive Assistant, for her wise council and careful oversight of countless details. The Association remains grateful for our webmaster, Rene H. Treviño, California State University, Long Beach, and thank him for his timely service. I speak for all attendees when I express my sincerest appreciation to Alfred Bendixen, Princeton University, Founder and Executive Director of the American Literature Association, for his 28 years of devoted service. We offer thanks as well to ALA Executive Coordinators James Nagel, University of Georgia, and Gloria Cronin, Brigham Young University.