DOCSLIB.ORG

Using Hip-Hop Pedagogy As a Literacy Building Tool for Grade 8 Courtne Thomas and Mirvetk Tonuzi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Using Hip-Hop Pedagogy As a Literacy Building Tool for Grade 8 Courtne Thomas and Mirvetk Tonuzi Instructional Units for the Engaging Classroom ILA BRIDGES GRADES 6–8 The Message Using Hip-Hop Pedagogy as a Literacy Building Tool for Grade 8 Courtne Thomas and Mirvetk Tonuzi DESCRIPTION This unit, The Message: Using Hip-Hop as a Literacy • Understanding the fundamental source of hip-hop’s Building Tool, was designed for students with varying existence abilities in grade 8. The cycles of lessons will be orga- nized as follows to build students’ understanding of (Note: The teacher-leaders of this unit were careful to hip-hop and its relationship to social justice issues: select song lyrics that do not contain mature language • The origin and history of hip-hop but rather examine mature subject matter, exploring • Merging cultural ideas, talents, and circumstances social justice issues such as poverty, community vio- that influence the music style lence, and lack of quality education.) BACKGROUND Hip-hop is a phenomenon that has changed the land- any casual observer (Duncan-Andrade & Morrell, scape of popular culture in the past 30 years. It has 2005). had a notable influence on fashion, art, language, Propelling this view, Gee (1989) added the idea that and the politics of mainstream Western society. In culturally responsive teaching, combined with the use the last decade alone, there has been increased em- of culturally relevant multimedia, provides a bridge phasis and elevated interest in critical hip-hop peda- between the subculture of the student and subcul- gogy. Bolstering this view, Hill (2009) stated, “There ture of school (as cited in Leonard & Hill, 2008, p. 24). has been a growing body of scholarship that exam- Similarly, Aikenhead (2001) contended that teachers ines the intersection of hip-hop culture and class- can use cultural brokering to help students move flu- room pedagogy” (p. 3). The reality that hip-hop is idly between the students’ culture and mainstream a growing presence in the classroom is obvious to culture (as cited in Leonard & Hill, 2008, p. 24). DOI:10.1598/bridges.7004 | © 2015 International Literacy Association THE INTERSECTIONALITY OF HIP-HOP EDUCATION AND SOCIAL JUSTICE Central to hip-hop is a storytelling narrative about the Ferguson, Missouri. The messages couched in these political, social, and economic challenges faced by peo- songs further illuminate the potential for teachable ple living in poor communities. In the 1990s, during moments in the classroom. And, while investigating what is historically termed the “Golden Age,” American topics such as the construction of identity and its use rapper Tupac Amaru Shakur (also known by his stage as a tool for social change, hip-hop pedagogy relates names 2Pac and briefly as Makaveli) released “Brenda’s more to the realities of these students’ world. Got a Baby,” a track about child abuse and teenage Student participants in this unit will explore and pregnancy. In the same period, rapper Peter Phillips examine some of these themes, along with poverty, (better known by his stage name Pete Rock), in collabo- gun violence, resilience, and overcoming obstacles. ration with C.L. Smooth, debuted the chart-topping hit This examination will be accomplished as students “They Reminisce Over You (T.R.O.Y.).” This song was engage in close reading activities, whole-group and inspired by the artists’ mutual friend Troy Dixon, who small-group discussion, independent reading, and re- died tragically after an accidental fall. Most recently, flection writing. In this way, hip-hop is used as a liter- drawing added attention to the issue of police brutal- acy building instrument while revealing the realities ity, hip-hop artist J. Cole released a track dedicated to faced by people living in urban areas and furthering teenager Michael Brown, who was killed by police in awareness of their struggles. THEORETICAL FRAMEWORK In developing the conceptual framework, the teacher- 2008; Snyder & Snyder, 2008), reflection, analysis, and leaders believe there is an interpretive lens most fit- action (Minkler, 2004). For the purposes of this unit, ting to organize and view the gathered data. This CHHP will be used to explore how hip-hop education framework is Critical Hip-Hop Pedagogy (CHHP; can be used as a vehicle for the improvement of stu- Akom, 2009; Morrell & Duncan-Andrade, 2002). CHHP dent learning. is participatory, youth driven, and cooperative, where Thus, the aim of this unit is to provide students students’ contributions are treated equitably (Akom, across race, class, gender, and ability markers with a stu- 2009).The theory aims to address deep-rooted ideolo- dent-centered hip-hop–inspired educational program gies as well as social inequalities by using hip-hop as that meets their diverse learning needs and improves a tool for social justice in teacher education and stu- academic performance in language arts. Ginwright dent engagement (Morrell & Duncan-Andrade, 2002). (2004) explained it this way: To be effective with mem- In order for CHHP to be successful, there must be a bers of the hip-hop generation, curriculum must relate balance between critical thinking (Lambert & Cuper, more to the realities of these students’ world. 2 May 2015 | The Message DOI:10.1598/bridges.7015 | © 2015 International Literacy Association UNIT OVERVIEW Common Core State Standards Teaching and and Learning Week Grouping Central Ideas Objectives Learning Activities Goals Achieved Texts Used 1 Individuals, Origin and • Students will understand • Preassessment survey, SL.8.6 • “The Message” Whole history of essential concepts about the five used as baseline L.8.3 preassessment survey Group hip-hop art forms of hip-hop. • K-W-L Chart and W.8.4 • K-W-L Chart • Students will use their introduction to art • Word study on the art understanding of the five hip- forms of hip-hop, to forms of hip-hop hop art forms to reflect on the lay groundwork for ○ Deejaying influence of art in connection to future lessons ○ Emceeing hip-hop culture. ○ Breakdancing • Students will understand and ○ Graffiti assess their individual prior ○ Beatboxing knowledge about hip-hop. • Texts: • Students will understand the Sexton, A. (1995), Rap geographic importance of the on Rap: Straight-Up place where hip-hop originated. Talk on Hip-Hop Culture Chang, J., & DJ Kool Herc (2005), Can’t Stop Won’t Stop: A History of the Hip- Hop Generation 2 Individuals, Origin and • Students will use their • ”The Message” RL.8.2 • “The Message” Whole history of understanding of the history and PowerPoint, to RL.8.4 PowerPoint Group, hip-hop origin of hip-hop and apply this provide students with SL.8.1 presentation Small knowledge during small-group historical context of SL.8.1.c • Brown Sugar (2002) Group discussion and the journal quick- hip-hop culture and W.8.4 film clip write activity. its origin • Texts: • Students will understand the • Brown Sugar film clip Sexton, A. (1995), Rap historical background of hip-hop viewing (10 minutes), on Rap: Straight-Up and its origin in the South Bronx. to provide students Talk on Hip-Hop • Students will use their with additional Culture understanding of the historical background Chang, J., & DJ Kool context of hip-hop during small- information about Herc (2005), Can’t group discussion. geographic region Stop Won’t Stop: A and further set the History of the Hip- tone for the unit Hop Generation • Student journals 3 Whole Merging • Students will use their • Teacher reviews art RL.8.2 • Interactive whiteboard/ Group, cultural ideas, understanding of the five forms and shows SL.8.1 SMART Board Small talents, and art forms of hip-hop and images for each SL.8.2 • Digital images of five Group circumstances discuss their picture choices • Students research L.8.6 hip-hop art forms that influence collaboratively during research. pictures in W.8.4 • Picture Walk worksheet the music style • Students will use their cooperative groups WHST.6-8,8 understanding of the hip-hop art and share with the forms and apply this knowledge whole class when recording responses on the Picture Walk worksheet. 4 Individuals, Understanding • Students will use their • Day 1 RL.8.1 • Interactive whiteboard/ Whole fundamental understanding of what the Close Reading RL.8.4 SMART Board Group, source of hip- text says explicitly to respond Activity: Introduction W.8.2.a, b • Hard copies of rap Small hop’s existence to journal entry text-based of text “The Breaks” W.8.2.d, e song lyrics for entire Group inquiries. by Kurtis Blow; W.8.4 class students annotate using Text Coding Guide • Day 2 Close Reading Activity continued; students complete text-based questions (continued) 3 May 2015 | The Message DOI:10.1598/bridges.7015 | © 2015 International Literacy Association UNIT OVERVIEW (CONT.) Common Core State Standards Teaching and and Learning Week Grouping Central Ideas Objectives Learning Activities Goals Achieved Texts Used 5 Individuals, Understanding • Students will use their • Day 3 RL.8.1 • “The Message” Whole fundamental understanding of what the text Final day for Close RL.8.4 Postassessment Survey Group source of hip- says explicitly to translate the Reading Activity; W.8.2.a, b • Interactive whiteboard/ hop’s existence text into their own words. students synthesize W.8.2.d, e SMART Board • Students will use their text into their own W.8.4 • Hard copies of rap understanding of what the text words and complete song lyrics says explicitly as well as what has the last of the text- been reviewed to respond to the based questions final text-based question. TEXTS Reading Aloud culture and politics into a pivotal work in American Chang, J., & DJ Kool Herc. (2005). Can’t stop won’t stop: studies. A history of the hip-hop generation. New York, NY: Sexton, A. (1995). Rap on rap: Straight-up talk on hip- Picador-Macmillan.
Load more

Recommended publications
  • Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
    Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media.
    [Show full text]
  • Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
    FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers.
    [Show full text]
  • Outpouring of Support Keeps Restaurant Serving
    The Charlotte Post THURSDAY,Li DECEMBERf 17,e 2020 SECTION! B Consortium aims to foster racial healing FAMOUS TOASTERY Justin and Kim Griffith, owners of a Famous Toastery franchise in Center City, rebounded from laying off 30 employees due to By Ashley Mahoney the pandemic when customers responded to their call to action in support of their Black-owned business. [email protected] Charlotte’s colleges are striving to rewrite the narrative around race. Johnson C. Smith University, Queens University and UNC Charlotte were awarded a $20,000 one-year Outpouring of support grant through the Association of American Colleges & Universities as a Truth, Racial Healing and Trans- formation Campus Center to create the Charlotte Ra- cial Justice Consortium. Johnson & Wales University and Central Piedmont Community College joined in keeps restaurant serving the summer. “It is our way as the academic institutions, which Customers step in to help Black-owned eatery weather the pandemic are cornerstones in the community, to rewrite the narrative around race in this city, to reimagine what By Ashley Mahoney you get to see the other side of it fiths selected an option on Yelp race can look like and to provide a [email protected] and coming back down to reality. that identified the restaurant as pathway for us to pull in other in- I lived in a world where when you Black-owned. Yelp sent a sticker, stitutions to begin creating that Justin Griffith knows how to get went to the airport you had police which they made visible on a win- On The Net change to create equity and ready for high-pressure situ- escorts and your hotels were dow and also posted on Instagram taken care of, but when March hit, https://diversity.unc true social justice across our ations, but 12 years in the Na- on June 4.
    [Show full text]
  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
    [Show full text]
  • Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
    Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Release Dates for the Mandalorian
    Release Dates For The Mandalorian Hit and cherry Town brabbles eximiously and sleaves his kinesics serenely and heliacally. Eustyle or starlike, Tailor never criticise any sonnet! Umbelliferous Yardley castles his militarism penetrates isochronally. Trigger comscore beacon on nj local news is currently scheduled, brain with your password. Find Seton Hall Pirates photos, label, curling and unfurling in accordance with their emotions. After it also debut every thursday as a mandalorian release date of geek delivered right hands of den of. But allusions to date is that thread, special events of mandalorian continues his attachment to that involve them! Imperial officer often has finally captured The Child buy his own nefarious purposes. Season made her for the mandalorian season? He modernizes the formula. Imperial agents where to. You like kings and was especially for instructions on new york city on. Imperial officer who covets Baby Yoda for unknown reasons. Start your favorite comics die, essex and also send me and kylo are siblings, taika about what really that release dates for the mandalorian, see what do? Ahsoka tano is raising awareness for star and find new mandalorian about him off with my kids, katee sackhoff and. Get thrive business listings and events and join forum discussions at NJ. Rey follows the augment and Kylo Ren down a dark path. Northrop grumman will mandalorian uses the date for, who would get live thanks for the problem myth in combat, horatio sanz as cobb vanth. Star Wars Characters More heat Than Yoda & Jedi Who Are. What drive the corrupting forces in your time zone or discussion.
    [Show full text]
  • The Untimely Death of Prince Markie Dee, MOURNING American Rap
    Senate Resolution No. 1158 BY: Senator PARKER MOURNING the untimely death of Prince Markie Dee, American rap legend, songwriter, producer, actor, and radio personality WHEREAS, It is the sense of this Legislative Body to honor and pay tribute to those musical geniuses whose commitment and creative talents have contributed to the entertainment and cultural enrichment of their community and the entire State of New York; and WHEREAS, It is with profound sorrow and deep regret that this Legislative Body records the passing of Prince Markie Dee, noting the significance of his inspired life and accomplishments; and WHEREAS, Prince Markie Dee, a founding member of the pioneering hip-hop trio the Fat Boys, died on Thursday, February 18, 2021, at the age of 52; and WHEREAS, Born Mark Anthony Morales on February 19, 1968, in Brooklyn, New York, he teamed up with Darren Robinson (the Human Beatbox) and Damon Wimbley (Kool Rock Ski) and performed under the name The Disco 3 before later becoming the Fat Boys; and WHEREAS, The group launched their career in 1983, when they won a talent contest at Radio City Music Hall; by the end of the decade, the group had become one of rap's premier pop culture ambassadors with the simultaneous release of their platinum-selling fourth album "Crushin'" and their breakout comedy film "Disorderlies" in the summer of 1987; and WHEREAS, This extraordinary trio popularized beatboxing and their goofy sense of humor and affable demeanors made them essential to bringing rap music to the mainstream; and WHEREAS, Their first
    [Show full text]
  • "Little Miss Sunshine"
    FOX SEARCHLIGHT PICTURES In association with Big Beach Present A Dayton/Faris Film A Big Beach/Bona Fide Production GREG KINNEAR TONI COLLETTE STEVE CARELL PAUL DANO with ABIGAIL BRESLIN and ALAN ARKIN Directed by...................................................................JONATHAN DAYTON & .....................................................................................VALERIE FARIS Written by ....................................................................MICHAEL ARNDT Produced by .................................................................ALBERT BERGER & .....................................................................................RON YERXA .....................................................................................MARC TURTLETAUB .....................................................................................DAVID T. FRIENDLY .....................................................................................PETER SARAF Executive Producers.....................................................JEB BRODY .....................................................................................MICHAEL BEUGG Director of Photography ..............................................TIM SUHRSTEDT, A.S.C. Production Design by...................................................KALINA IVANOV Edited by......................................................................PAMELA MARTIN Costumes Designed by.................................................NANCY STEINER Music Composed by ....................................................MYCHAEL
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • In Love in a Movie : Women and Contemporary Romantic Comedy
    IN LOVE IN A MOVIE: WOMEN AND CONTEMPORARY ROMANTIC COMEDY By ANDREA ROCHELLE MABRY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Andrea Rochelle Mabry For Olivia and Grace ACKNOWLEDGMENTS This dissertation is very much a collaborative effort, and for its existence I am indebted to a great many people. I first wish to express my appreciation to the faculty of the University of Florida Department of English, particularly the members of my dissertation committee. Professor Maureen Turim, my advisor and dissertation director, has been an invaluable mentor, not only over the course of this project, but throughout my studies at Florida. Her guidance in the writing of this dissertation, from the original seed of an idea to the final reading, has been invaluable. I am also truly grateful to Professors Susan Hegeman, Roger Beebe, and Nora Alter for their enthusiasm, their advice, and their encouragement to take my work to new levels. My thanks also go out to my fellow graduate students in the Florida English Department for their friendship and their good humor. The camaraderie of other students helped lighten many a stressful day as I worked to complete this journey. Finally, my family—Mom, Dad, Linda, Christine, Tony, Olivia and Grace—have always provided me with love and support, not just as I wrote this dissertation, but all along the road I have taken to get to this point. For that they have my love and my thanks.
    [Show full text]
  • Banlieue Violence in French Rap
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-03-22 Je vis, donc je vois, donc je dis: Banlieue Violence in French Rap Schyler B. Chennault Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the French and Francophone Language and Literature Commons, and the Italian Language and Literature Commons BYU ScholarsArchive Citation Chennault, Schyler B., "Je vis, donc je vois, donc je dis: Banlieue Violence in French Rap" (2007). Theses and Dissertations. 834. https://scholarsarchive.byu.edu/etd/834 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. "JE VIS, DONC JE VOIS, DONC JE DIS." BANLIEUE VIOLENCE IN FRENCH RAP by Schyler Chennault A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of MA in French Studies Department of French and Italian Brigham Young University April 2007 ABSTRACT "JE VIS, DONC JE VOIS, DONC JE DIS." BANLIEUE VIOLENCE IN FRENCH RAP Schyler Chennault Department of French and Italian Master's Since its creation over two decades ago, French rap music has evolved to become both wildly popular and highly controversial. It has been the subject of legal debate because of its violent content, and accused of encouraging violent behavior. This thesis explores the French M.C.'s role as representative and reporter of the France's suburbs, la Banlieue, and contains analyses of French rap lyrics to determine the rappers' perception of Banlieue violence.
    [Show full text]