DOCSLIB.ORG

Marshall Mathers Lp2”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marshall Mathers Lp2” ANALYSIS OF COLLOQUIAL WORDS FOUND IN SONG LYRICS FROM EMINEM ALBUM “MARSHALL MATHERS LP2” THESIS This thesis is submitted to meet one of the requirements to achieve Sarjana Degree in English Language Education By: SANDY ARMANSYAH RAHMAT YANDI 201410100311115 ENGLISH LANGUAGE EDUCATION DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH MALANG 2019 This thesis written by Sandy Armansyah was approved on October 26, 2019 By: Advisor II, Advisor I, Riski Lestiono, S.Pd., M.A. Dra. Thathit Manon Andini, M.Hum. i This thesis was defended in front of the examiners of the Faculty of Teacher Training and Education of University of Muhammadiyah Malang and accepted as one of the requirements to achieve Sarjana Degree in English Language Education on October 26, 2019 Approved by: Faculty of Teacher Training and Education University of Muhammadiyah Malang Dean, Dr. Poncojari Wahyono, M.Kes. Examiners: Signatures: 1. Dr. Fardini Sabilah, S.Pd., M.Pd. 1. ..................... 2. Puji Sumarsono. S.Pd., M.Pd. 2. ..................... 3. Dra. Thathit Manon Andini, M.Hum. 3. ..................... 4. Riski Lestiono, S.Pd., M.A. 4. ..................... ii LETTER OF AUTHENTICITY The written work enclosed is authorized by: Name : Sandy Armansyah Rahmat Yandi NIM : 201410100311115 Major : English Language Education Department Faculty : Teacher Training and Education Title of work: AN ANALYSIS OF COLLOQUIAL WORDS FOUND IN SONG LYRICS FROM EMINEM ALBUM “MARSHALL MATHERS LP2” I hereby declare that this thesis has not been published and written by another person in any form of publication for achieving Sarjana Degree in other universities. This thesis is the product of my own work without committing plagiarisms more than the specified percentage. Furthermore, as citation etiquette, all citations have been mentioned in the references. Malang, October 26, 2019 The Researcher, Sandy Armansyah Rahmat Yandi iii MOTTOS AND DEDICATIONS MOTTOS “What is “Courage”? Courage is owning your fear!” (William Anthonio Zeppeli) “You yourself have to change first, or nothing will change for you!” (Sakata Gintoki) “Wagering that life in absence of Translation is resembling a relation without explication; turmoil is always there in action” (Riski Lestiono) DEDICATIONS: Myself, as the researcher, who has been doing anything in finishing this thesis. My family and my friends for supporting me thoroughly in my life. iv AN ANALYSIS OF COLLOQUIAL WORDS FOUND IN SONG LYRICS FROM EMINEM ALBUM “MARSHALL MATHERS LP2” ABSTRACT Colloquial is an informal language which is the lexical base of all social dialects. In other words, all native speakers of the particular language generally understand when using this variety. The users of colloquial are commonly educated and uneducated people which appear both in real life and in song. In song, the use of colloquial frequently appears in the rap genre. Since the researcher identifies the frequent use of colloquial words in the rap song genre, this research is aimed to investigate the colloquial words and the meaning of the colloquial words found based on its type in rap song lyric from “Marshall Mathers LP2” album by Eminem. This research employed qualitative design. Furthermore, the research object was a song entitled “Rap God” in “Marshall Mathers LP2” album. The instrument of this research was document in the form of song lyric entitled “Rap God” containing colloquial words used by Eminem in his “Marshall Mathers LP2” album. The finding showed that the researcher identified 130 colloquial words in Eminem song lyric entitled “Rap God” from “Marshall Mathers LP2” album. The colloquial words are classified into 21 literary colloquial words in phonetic feature, 48 literary colloquial words in lexical feature, and 0 literary colloquial words in morphological feature, 9 familiar colloquial words in phonetic feature, 48 familiar colloquial words in lexical feature, and 4 familiar colloquial words in morphological feature. The researcher compared the colloquial words based on the conceptual and associative meaning taken from Farlex online dictionary (https://www.thefreedictionary.com) and the meaning of each line in “Rap God” song lyric taken from the Rap Genius community (https://genius.com). Key words: Colloquial, Marshall Mathers LP2, Song Advisor 1 The Researcher, Dra. Thathit Manon Andini, M.Hum. Sandy Armansyah Rahmat Yandi v ACKNOWLEDGEMENTS Alhamdulillahirabbil ’alamin, all praises and gratefulness to Allah S.W.T, who is the source of life and strength of knowledge and wisdom. My sincere appreciation and deepest gratitude is conveyed to Dra. Thathit Manon Andini, M.Hum and Riski Lestiono, M.A for their kind supervision, guidance, support and valuable suggestions. I also thank my thesis examiners, all lectures and staffs of Faculty of Teacher Training and Education, especially English Language Education Department for their help and encouragement. I take this opportunity to express gratitude to all of the English department students academic year 2014 for their help and support. I also thank my parents, my brothers, my sisters and all of my members for the unconditional encouragement, support and attention. My thankfulness also goes to my friends; Arga, Bima, Desi, Gigih, and Novi who support me through this adventure and my life. I am completely aware that this thesis is far from the percentage of perfection. I realize that many mistakes have been made even though I have already worked hard to complete the thesis. Therefore, the critics and suggestions are expected in this research. Finally, I hope this thesis will be beneficial for the readers. Malang, October 26, 2019 The Researcher, Sandy Armansyah Rahmat Yandi vi TABLE OF CONTENTS APPROVAL …………………………………………………………………….. i LEGALIZATION ……………………………………………………………… ii LETTER OF AUTHENTICITY ……………………………………………... iii MOTTO AND DEDICATION ………………………………………………... iv ABSTRACT ……………………………………………………………………. v ACKNOWLEDGEMENTS …………………………………………………... vi TABLE OF CONTENTS …………………………………………………….. vii CHAPTER I: INTRODUCTION 1.1 Background of the Study ….................................................................... 1 1.2 Statements of Problems ….…................................................................. 3 1.3 Objective of the Study …........................................................................ 3 1.4 Scope and Limitation …..….................................................................... 4 1.5 Significance of the Study ….................................................................... 4 1.6 Definition of the Key Terms …............................................................... 4 CHAPTER II: REVIEW OF RELATED LITERATURE 2.1 Language Variation ……………………………………………………. 6 2.1.1 Dialect ……………………………………………………………... 6 2.1.2 Register ……………………………………………………………. 7 2.1.3 Slang ………………………………………………………………. 7 2.1.4 Jargon ……………………………………………………………… 8 2.1.5 Colloquial ………………………………………………………….. 8 2.1.5.1 Types of Colloquial Words …………………………………… 9 2.1.5.1.1 Literary Colloquial Words ………………………………. 9 vii 2.1.5.1.2 Familiar Colloquial Word …………………………..….. 11 2.2. Definition of Meaning ……………………………………………….. 13 2.3. Rap Song …………………………………………………………….. 14 2.4. “Marshall Mathers LP2” Album Review ……………………………. 15 CHAPTER III: RESEARCH METHOD 3.1 Research Design ……………………………………………………… 16 3.2 Research Objects ……………………………………………………... 17 3.3 Research Instrument ………………………………………………….. 17 3.4 Data Collection ………………………………………………………. 18 3.5 Data Analysis ………………………………………………………… 19 CHAPTER IV: RESEARCH FINDINGS AND DISCUSSION 4.1 Research Findings ……………………………………………………. 20 4.1.1. The Colloquial Words Found in Song Lyrics of Eminem Album “Marshall Mathers LP2”………………………………………… 20 4.1.2. The Meaning of the Colloquial Words Found in Song Lyrics from Eminem Album “Marshall Mathers LP2”………………………. 21 4.1.2.1 Literary Colloquial Word ………………………………… 22 4.1.2.2 Familiar Colloquial Word ………………………………... 25 4.2 Discussion ……………………………………………………………. 29 CHAPTER V: CONCLUSION AND SUGGESTIONS 5.1 Conclusion …………………………………………………………… 32 5.2 Suggestions …………………………………………………………... 33 REFERENCES ………………………………………………………………... 34 APPENDICES viii LIST OF APPENDICES APPENDIX 1. The Colloquial Words Found in Song Lyrics from Eminem Song “Rap God” …………………………………………………………..…………. 37 APPENDIX 2. Literary Colloquial Words Phonetic Feature ……………..…… 39 APPENDIX 3. Literary Colloquial Words Lexical Feature ………..………….. 40 APPENDIX 4. Familiar Colloquial Words Phonetic Feature …………………. 42 APPENDIX 5. Familiar Colloquial Words Lexical Feature …………………... 43 APPENDIX 6. Familiar Colloquial Words Morphological Feature …………… 46 APPENDIX 7. Rap God Song Lyrics ………………………………………….. 47 ix LIST OF FIGURES FIGURE 1. Literary Colloquial Word ……………………….………………… 22 FIGURE 2. Familiar Colloquial Word ……………………….………………… 25 x REFERENCES Adams, M. (2009). Slang: The People’s Poetry. New York: Oxford University Press. Albair, J. (2010), What is the State of Evaluative Affixes in Contemporary English?. Retrieved from https://www.llas.ac.uk/sites/default/files/nodes/3088/Debut_vol_1_albair.pdf Antrushina, G. B. et al (2003). English Lexicology. Retrieved from http://www.durov.com/study/1159104687-618.html Ary, D. et al. (2010). Introduction to Research in Education, (8th ed). Belmont: Wadsworth Cengage Learning. Creswell, J. W. (2014). Research Design: Qualitative Research, Quantitative Research and Mixed Methods Approaches. London: Sage Publication Ltd. Devos, J. (2007). The Evolution of Hip-Hop Culture. Retrieved from http://en.bookfi.net Eifring, H.
Load more

Recommended publications
  • 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).
    [Show full text]
  • Slang in American and British Hip-Hop/Rap Song Lyrics
    LEXICON Volume 5, Number 1, April 2018, 84-94 Slang in American and British Hip-Hop/Rap Song Lyrics Tessa Zelyana Hidayat*, Rio Rini Diah Moehkardi Universitas Gadjah Mada, Indonesia *Email: [email protected] ABSTRACT This research examines semantic changes and also the associative patterns of slang, focusing primarily on common topics, i.e., people and drugs. The data were slang terms taken from the lyrics of hip-hop/rap songs sung by four singers, two from the U.S.A and two from the U.K. A total of 105 slang terms were found, 45 of which belong to the people category and 16 to the drugs category in the American hip-hop/rap song lyrics, and in the British hip-hop/rap song lyrics, 26 of which belong to the people category and 18 to the drugs category. Bitch and nigga were found to be the most frequently used slang terms in the people category. In terms of semantic changes, broadening, amelioration, and narrowing were found, and in terms of associative patterns, effect, appearance, way of consuming, constituent, and container associative patterns were found. In addition, a new associative pattern was found, i.e., place of origin. Keywords: associative patterns, people and drugs slang, semantic change, slang. mislead people outside their group. Then, the INTRODUCTION usage of Cant began to slowly develop. Larger “This party is just unreal!” Imagine a person groups started to talk Cant in their daily life. It saying this sentence in the biggest New Year’s Eve was even used for entertainment purposes, such as party in his/her town, with the largest crowd, the in literature.
    [Show full text]
  • Rap God - Song Lyrics
    Lyrics from http://LyricsToPDF.com Rap God - Song Lyrics Look I was gonna go easy on you and not to hurt your feelings But I'm only going to get this one chance Something's wrong I can feel it Just a feeling I've got like something's about to happen But I don't know what If that means what I think it means we're in trouble Big trouble and if he is as bananas as you say I'm not taking any chances You were just what the doctor ordered I'm beginning to feel like a rap god rap god All my people from the front to the back nod back nod Now who thinks that arms are long enough to slapbox slapbox? They said I rap like a robot so call me Rapbot But for me to rap like a computer must be in my genes I got a laptop in my back pocket My pen will go off when I half-cock it Got a fat knot from that rap profit Made a living and a killing off it Ever since Bill Clinton was filling in office With Monica Lewinsky filling on his nutsack I'm an MC still as honest But as rude and indecent as all hell Syllables killaholic …. This slipety gibbity hippity hop- You don't really wanna get into a pissing match With this rappidy rap packing a Mac In the back of the Ac… And at the exact same time I attempt these lyrical acrobat stunts while I'm practicing that I'll still be able to break a motherfuckin' table Over the back of a couple of faggots and crack it in half Only realized it was ironic I was under aftermath after the fact How could I not blow? All I do is drop F bombs Feel my wrath of attack Rappers are having a rough time Period here's a maxi pad It's actually
    [Show full text]
  • Hip Hop, Memes, and the Internet
    BY ALL MEMES NECESSARY: HIP HOP, MEMES, AND THE INTERNET MAX TRETTER FRIEDRICH-ALEXANDER-UNIVERSITY ERLANGEN-NUREMBERG INTRODUCTION: HIP HOP ON THE INTERNET The internet influences hip hop in various ways. First and foremost, the internet is a medium that opens up a new space and stage in which hip hop can be performed. This stage is no longer local, but global, which represents both opportunity and challenge. On the one hand, each hip hop artist must assert themselves against countless compet- itors from all over the world; on the other hand, their breakthrough online, if it suc- ceeds, can be monumental in comparison to an analog breakthrough, which is usually confined to a limited area. Therefore, for hip hop artists it is increasingly important to attract attention – as only those who get the attention succeed in this new medium (Prior 2018, Jenkins et al. 2013). The internet’s central influence on hip hop is the inten- sification of the battle for attention – which results in hip hop artists trying new ap- proaches and strategies to gain that attention. One of them is producing their content with an eye to making it as meme-able as possible and capitalizing on meme dynamics on the internet. In this study, I approach memes as a concept, following the definition of Dawkins (2006) who originally defined the concept of memes in his work The Selfish Gene. Memes are small units of information that are usually very simple and catchy (ges- tures, styles, melodies, or phrases). They are transmitted from person to person by imitation or adaption, replicate and spread very quickly, and contribute to the dissem- ination and formation of common behaviors and cultures (Dawkins 2006).
    [Show full text]
  • Literatura Y Otras Artes: Hip Hop, Eminem and His Multiple Identities »
    TRABAJO DE FIN DE GRADO « Literatura y otras artes: Hip Hop, Eminem and his multiple identities » Autor: Juan Muñoz De Palacio Tutor: Rafael Vélez Núñez GRADO EN ESTUDIOS INGLESES Curso Académico 2014-2015 Fecha de presentación 9/09/2015 FACULTAD DE FILOSOFÍA Y LETRAS UNIVERSIDAD DE CÁDIZ INDEX INDEX ................................................................................................................................ 3 SUMMARIES AND KEY WORDS ........................................................................................... 4 INTRODUCTION ................................................................................................................. 5 1. HIP HOP ................................................................................................................... 8 1.1. THE 4 ELEMENTS ................................................................................................................ 8 1.2. HISTORICAL BACKGROUND ................................................................................................. 10 1.3. WORLDWIDE RAP ............................................................................................................. 21 2. EMINEM ................................................................................................................. 25 2.1. BIOGRAPHICAL KEY FEATURES ............................................................................................. 25 2.2 RACE AND GENDER CONFLICTS ...........................................................................................
    [Show full text]
  • Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
    FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves.
    [Show full text]
  • Through the Iris TH Wasteland SC Because the Night MM PS SC
    10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
    [Show full text]
  • The Clarion, Vol. 84, Issue #6, Oct. 5, 2018
    clarion.brevard.edu Happy National Kale Day! Volume 84, Issue 6 Web EditionEdition SERVING BREVARD COLLEGE SINCE 1935 October 3, 2018 SGABy Jeni Welch Constitution amendments Editor in Chief If passed, new clubs will only need five members in comparison with the original constitution that requires 10 and the secretary will be The Brevard College Student Government Association (SGA) has responsible to publish the minutes of the meetings on my.brevard as to initiated new revisions to their constitution. be viewed by anyone. The amendments were proposed on Sept. 25 with two different public All of the amendments and revisions are pending a two-thirds majority forums being held to hear concerns and answer questions. The first was vote before being approved as part of the new constitution. on Monday, Oct. 1 and the second forum will be on Friday, Oct. 8 at 8 A complete list explaining the proposed amendments and constitutional a.m. in Myers Dining Hall. changes was emailed to the student body last week. The final vote on the amendments will be on Monday, Oct. 8 during the “The most important amendments that are pending approval are the SGA meeting. However, the floor will be open to the public for any last ones that had complex language that interfered with comprehension,” comments prior to the voting. If none of the dates are of convenience, said Joseph and Fuesler. “Creating clearer expectations will help us please email [email protected] with your comments so your voices welcome more into the SGA community and not get bogged down in can be heard.
    [Show full text]
  • Rap God: Russian Formalism Analysis
    RAP GOD: RUSSIAN FORMALISM ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirement for Gaining the Bachelor Degree in English Literature By: Ahmad Ridwan Malik 14150029 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2019 A FINAL PROJECT STATEMENT I certify that this graduating papsr is definitely my own work. I arn compietely responsible for the content of this graduating paper. Other wrjter's opinions or findings included in the graduating paper are quoted or cited in accordance with ethical standard. Yogyakttrta,March 10tll,2019 Stud. Reg. No. 14150029 KEMENTERIAN AGAMA UNIVERSITAS ISLANI NEGERI SUNAN KALIJAGA FAKULTAS ADAB DANILMU BUDAYA Jl.Marsda Adisucipto Tclp.(0274)513949 Fax (0274)552883 Yogyakarta 55281 PENGESAHAN TUGAS AKHIR Nomor:B-219/Un 02/DA/PP 00.9/05/2019 Tugas Akhir dengan judul : RAP GOD: RUSSIAN FORMALISM ANALYSIS yang dipersiapkan dan disusun oleh: Nama : AHMAD zuDWANMALIK Nomor Induk Mahasiswa : 14150029 Telah diujikan pada : Senin, l l Maret 2019 Nilai ujian Tugas Akhir : B+ dinyatakan telah diterima oleh Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga Yogyakarta TIPI UJIAN TUGAS AKHIR Ketlla Sidang 飩玲 Ulyal Rctno Sari,SS M.Hum NIP.197711152005012002 ρ ¨ Danial IIidayatullah,SS,M Hum Aninda tti siWi,S.Pd,M Pd NIP 19760405 200901 l o16 NIP 19851011 201503 2 004 l Marct 2019 lijaga Budaya θ9/a5/2o7θ KEPIENTRIノ ぜヾAGAMA REPUBLIK INDONESIA UNⅣERSITASISLAM NEGERISUNAN KALIJAGA 畿 FAKULTAS ADAB DAN ILⅣ 側 BUDAYA Jl,Marstt Adi Sucipto Yogyab蔵 55281 Telp./Fax.(0274) al● 513949 Web : http : /ladab.uin-suka. ac. id Emaill adabの uin_suka.ac.id NOTA DINAS HalI Slcipsi Ahlad Ridwall卜Ialik Yth.
    [Show full text]
  • A Wild Stab in the Dark: Exposing Eminem's Existentialism
    A Wild Stab in the Dark: Exposing Eminem’s Existentialism Daniel Ragusa AS 112 “Encountering Unbelief” Due: 12/6 1 Abstract This paper attempts to apply the principles of covenantal apologetics to today’s cultural milieu by using the latest music album by American rapper, Eminem, as a gateway into today’s postmodern thinking. The worldview of Eminem developed in his latest album, The Marshal Mathers LP2 (2013), will be shown to have deep affinity with the atheistic existentialism of Friedrich Nietzsche, the father of postmodernism. This allows the philosophical thought of Nietzsche to penetrate today’s culture without anyone actually reading his books, but simply listening to its application in the lyrics of Eminem and other influential artists that espouse a fundamentally similar philosophy. After establishing Eminem’s worldview, there will be provided an internal critique of it in terms of its metaphysics, epistemology and ethics, as well as its inability to account for the one and the many. It will become evident that Eminem’s worldview is far from a coherent system and must either borrow capital from the Christian worldview or spiral into total absurdity. Introduction The average person today is not reading thick volumes of philosophy to establish his worldview, but he does have headphones on. Within the first two weeks of its release, Eminem’s latest album—The Marshall Mathers LP2 (2013)1—went platinum with over one million people purchasing it.2 The album is an amalgam of raw anger, unwavering resolve, and deep-felt despair masterfully merged into unprecedented lyrical brilliance. The devilish fantasies of MMLP2 survey a wide spectrum of depraved thinking.
    [Show full text]
  • Identifying Interests and Expertise in the Twitter Social Network»
    DEPARTMENT OF INFORMATICS MSc IN COMPUTER SCIENCE M.Sc. Thesis «Identifying Interests and Expertise in the Twitter Social Network» Evita Zoi Bakopoulou Student ID: 1418 Advisor: Prof. Vana Kalogeraki ATHENS, FEBRUARY, 2016 ii “Social media is the ultimate equalizer. It gives a voice and a platform to anyone willing to engage.” Amy Jo Martin iii ATHENS UNIVERSITY OF ECONOMICS AND BUSINESS Abstract Department of Informatics Master of Science in Computer Science Identifying Interests and Expertise in the Twitter Social Network by Evita Zoi Bakopoulou Social media have become very popular in recent years and con- stitute a powerful source of information. Twitter users have various interests and expertise levels, and we believe that their profile data can be explored to better tailor crowdsourcing systems to the needs of spe- cific tasks. This thesis aims to infer the interests and expertise of users in a Twitter sample data set, and use these user profiles when assigning tasks to the users in a crowdsourcing system. For example, user exper- tise can provide important benefit when solving complex tasks or for avoiding non-legitimate answers. Our work ensures that user answers will have higher validity, as there will be a better match between the user interests and the issued tasks, thus tasks requiring expertise will be appropriately assigned to corresponding users. Various features in Twitter can be used in such a system, e.g., Users’ lists, which could indicate the users’ interests based on whether the users are subscribed to a list, and their expertise can be determined if they are added to ex- isting lists by other users.
    [Show full text]
  • Beyoncé's Lemonade Collaborator Melo-X Gives First Interview on Making of the Album.” Pitchfork, 25 Apr
    FACULTADE DE FILOLOXÍA DEPARTAMENTO DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Beyoncé’s Lemonade: “A winner don’t quit” ANDREA PATIÑO DE ARTAZA TFG 2017 Vº Bº COORDINADORA MARÍA FRÍAS RUDOLPHI Table of Contents Abstract 1. Introduction 3 2. Methodology 4 3. Beyonce's Lemonade (2016) 5 3.1 Denial: “Hold Up” 6 3.2 Accountability: “Daddy Lessons” 12 3.3 Hope: “Freedom” 21 3.4 Formation 33 4. Conclusion 44 5. Works Cited 46 Appendix 49 Abstract Beyoncé’s latest album has become an instant social phenomenon worldwide. Given its innovative poetic, visual, musical and socio-politic impact, the famous and controversial African American singer has taken an untraveled road—both personal and professional. The purpose of this essay is to provide a close reading of the poetry, music, lyrics and visuals in four sections from Beyoncé’s critically acclaimed Lemonade (2016). To this end, I have chosen what I believe are the most representative sections of Lemonade together with their respective songs. Thus, I focus on the song “Hold Up” from Denial; “Daddy Lessons” from Accountability, “Freedom” from Hope, and “Formation,” where Beyoncé addresses topics such as infidelity, racism, women’s representation, and racism and inequality. I analyse these topics through a close-reading and interpretation of Warsan Shire’s poetry (a source of inspiration), as well as Beyoncé’s own music, lyrics, and imagery. From this analysis, it is safe to say that Lemonade is a relevant work of art that will perdure in time, since it highlights positive representations of African-Americans, at the same time Beyoncé critically denounces the current racial unrest lived in the USA.
    [Show full text]