This document summarizes the book "Global Noise: Rap and Hip-Hop Outside the USA" which examines how rap and hip-hop have been appropriated in local contexts around the world beyond its origins in African American culture in the USA. The book argues that more innovative developments can be found in places like France, England, Germany, and Japan where strong local currents of hip-hop have emerged. It also discusses how in places like Hawaii, Australia, New Zealand, and the Pacific Islands, hip-hop has been used as a vehicle for political expression of issues important to those regions. While acknowledging local appropriation, the document questions what constitutes the "global" in global hip-hop culture if it is defined only by its
This document summarizes and analyzes an academic article about Aboriginal hip hop culture in Australia. It discusses three key points:
1) It examines the work of three Aboriginal and non-Aboriginal Australian hip hop artists (Little G, MC Wire, and Morganics) who are part of the "conscious" hip hop scene and its influence on Aboriginal youth identity formation.
2) It argues that hip hop's localization in Australia is due not just to oppositional politics but also its internal logic of sampling, representing, and flow, which allows it to be adapted while maintaining local roots.
3) It provides an overview of the artist's performances and workshops to illustrate how they represent their communities and hip hop culture
The document discusses research on the "street code" culture found in some inner-city black communities. It describes how structural conditions like poverty, unemployment, and limited opportunities have led to the development of this code. The code emphasizes respect, social identity, and the use of violence. The author argues that gangsta rap music reflects and reinforces this street code through its lyrics about crime, violence, and street life. The study analyzes 403 rap songs to examine how the code is portrayed and how violence is justified in the lyrics.
This document summarizes an article that examines the connections between spirituality and hip hop music. It discusses how hip hop draws from black musical traditions like gospel and soul that blurred lines between sacred and secular. While hip hop lyrics often reference immoral topics, the music can still produce spiritual experiences for artists and listeners. The document analyzes how hip hop samples and mixes sacred texts with profane lyrics to explore existential questions. It also discusses contradictions between religious imagery used in hip hop and artists' actual lives.
This document provides a lyrical analysis of the song "Little Brother" by the hip hop duo Black Star. The analysis examines the song's instrumental beat and vocal samples, as well as the lyrics rapped by Mos Def and Talib Kweli. The analysis suggests the song portrays the harsh conditions of life in the ghetto, but also conveys a sense of hope and pride in representing those without means ("the ain't-gots"). The analysis places the song's themes in the context of black liberation theology and the spirituals sung by slaves.
Hip-hop began in the South Bronx in 1973 as a way for disaffected youth to channel their frustrations into art rather than violence. DJ Kool Herc pioneered extending breakbeats using two turntables, sparking the hip-hop revolution. Cornell University has the largest collection of hip-hop artifacts and recordings in the world and works to document hip-hop's history from its originators. Hip-hop grew from its roots in the Bronx to become a global phenomenon, adapting to local cultures worldwide and bringing more people together across differences than any politicians.
Hip hop and rap music have flourished despite negative perceptions and can have a large impact on youth. These genres speak to adolescent's meaning-making, identity formation, and sense of place. They address struggles with oppression, religion, and dreams. While some view the genres as detrimental, music plays an important role in adolescent development by satisfying social, emotional, and developmental needs. Spirituality, though subjective, forms how adolescents make sense of themselves and the world.
This document provides a textual analysis of The Guardian Weekly magazine and Time magazine. For The Guardian Weekly, it analyzes layout, photography, typography, and intertextual references on the covers. It finds the magazine uses intertextuality and progressive language to convey left-leaning viewpoints. For Time magazine, it examines Greta Thunberg's Person of the Year cover and finds symbolic representations of her message and activism through her expression, clothing, and gaze. It also analyzes ads and articles in Time that reveal liberal social values and a focus on underrepresented groups.
This document discusses questions about the relationship between globalization, neoliberal capitalism, and the development and global spread of hip-hop music and culture. It explores how hip-hop emerged from 1970s/80s American inner cities as a form of resistance to poverty and oppression under neoliberal capitalism. The document examines how hip-hop then spread globally and was perceived as resistance music in other countries facing inequality and oppression. It considers whether hip-hop has become commodified and appropriated, losing its ability to promote resistance, or whether it can still function as a form of resistance against capitalism and other issues.
This document summarizes and analyzes an academic article about Aboriginal hip hop culture in Australia. It discusses three key points:
1) It examines the work of three Aboriginal and non-Aboriginal Australian hip hop artists (Little G, MC Wire, and Morganics) who are part of the "conscious" hip hop scene and its influence on Aboriginal youth identity formation.
2) It argues that hip hop's localization in Australia is due not just to oppositional politics but also its internal logic of sampling, representing, and flow, which allows it to be adapted while maintaining local roots.
3) It provides an overview of the artist's performances and workshops to illustrate how they represent their communities and hip hop culture
The document discusses research on the "street code" culture found in some inner-city black communities. It describes how structural conditions like poverty, unemployment, and limited opportunities have led to the development of this code. The code emphasizes respect, social identity, and the use of violence. The author argues that gangsta rap music reflects and reinforces this street code through its lyrics about crime, violence, and street life. The study analyzes 403 rap songs to examine how the code is portrayed and how violence is justified in the lyrics.
This document summarizes an article that examines the connections between spirituality and hip hop music. It discusses how hip hop draws from black musical traditions like gospel and soul that blurred lines between sacred and secular. While hip hop lyrics often reference immoral topics, the music can still produce spiritual experiences for artists and listeners. The document analyzes how hip hop samples and mixes sacred texts with profane lyrics to explore existential questions. It also discusses contradictions between religious imagery used in hip hop and artists' actual lives.
This document provides a lyrical analysis of the song "Little Brother" by the hip hop duo Black Star. The analysis examines the song's instrumental beat and vocal samples, as well as the lyrics rapped by Mos Def and Talib Kweli. The analysis suggests the song portrays the harsh conditions of life in the ghetto, but also conveys a sense of hope and pride in representing those without means ("the ain't-gots"). The analysis places the song's themes in the context of black liberation theology and the spirituals sung by slaves.
Hip-hop began in the South Bronx in 1973 as a way for disaffected youth to channel their frustrations into art rather than violence. DJ Kool Herc pioneered extending breakbeats using two turntables, sparking the hip-hop revolution. Cornell University has the largest collection of hip-hop artifacts and recordings in the world and works to document hip-hop's history from its originators. Hip-hop grew from its roots in the Bronx to become a global phenomenon, adapting to local cultures worldwide and bringing more people together across differences than any politicians.
Hip hop and rap music have flourished despite negative perceptions and can have a large impact on youth. These genres speak to adolescent's meaning-making, identity formation, and sense of place. They address struggles with oppression, religion, and dreams. While some view the genres as detrimental, music plays an important role in adolescent development by satisfying social, emotional, and developmental needs. Spirituality, though subjective, forms how adolescents make sense of themselves and the world.
This document provides a textual analysis of The Guardian Weekly magazine and Time magazine. For The Guardian Weekly, it analyzes layout, photography, typography, and intertextual references on the covers. It finds the magazine uses intertextuality and progressive language to convey left-leaning viewpoints. For Time magazine, it examines Greta Thunberg's Person of the Year cover and finds symbolic representations of her message and activism through her expression, clothing, and gaze. It also analyzes ads and articles in Time that reveal liberal social values and a focus on underrepresented groups.
This document discusses questions about the relationship between globalization, neoliberal capitalism, and the development and global spread of hip-hop music and culture. It explores how hip-hop emerged from 1970s/80s American inner cities as a form of resistance to poverty and oppression under neoliberal capitalism. The document examines how hip-hop then spread globally and was perceived as resistance music in other countries facing inequality and oppression. It considers whether hip-hop has become commodified and appropriated, losing its ability to promote resistance, or whether it can still function as a form of resistance against capitalism and other issues.
This book analyzes certain social and musical aspects of hip hop in various African countries through contributions from thirteen international scholars. It discusses how hip hop emerged as a social movement in the 1980s through break dancing and later became a musical genre as the African hip hop industry developed in the 1990s. The chapters examine hip hop's development in individual countries, solo artists, and its fusions with other genres. While providing historical and qualitative information on African hip hop, the book does not deeply analyze issues of race and identity explored in other hip hop literature.
The document discusses marginalized audiences and their consumption of popular culture. It examines how women, gay people, and the Philippine masses make meaning from cultural products based on their experiences. Several works are analyzed that look at how these groups interpret texts and assert their own readings, including studies on Filipino gay men living abroad, superhero characters in the Philippines, and women's reading of romance novels. The document advocates that marginalized audiences deserve to have their interpretations and pleasures taken seriously rather than being dismissed.
This document contains a summary of a college literature class. It discusses accidental vs incidental, introduces poems about rain blowing away papers, and sets the agenda to choose new discussion groups. It then provides a lecture on the Harlem Renaissance historical context between WWI and the Great Depression when black artists flourished. Specific details are given about the migration of African Americans to northern cities and their questioning of second-class status after fighting in WWI. Discussion questions are posed about Langston Hughes' poems "The Negro Speaks of Rivers" and "I, Too, Sing America". Groups then discuss connections between blues music and race in Hughes' poem "The Weary Blues". The document ends by introducing the works of Zora Neale
Millstream and North West Arm Manuscript April 24, 2016Michael Ball
This document provides context for a book examining the history of the Millstream Valley in Kings County, New Brunswick from 1784 to the present. It discusses previous local histories of the area, which relied on oral histories and lacked detailed analysis. The author aims to interpret settlement patterns and social life in the valley through analysis of land grants, census records, and other archival materials. The methodology examines a cross-section of families who received land grants and those who later purchased or inherited land. The goal is to show the cultural and economic diversity of the early settler population and gain insights into why families chose particular locations.
This document is a thesis by Samuel Washburn analyzing popular lyrics as a poetic extension of Southern Gothic literature. It begins with an introduction outlining how Southern Gothic literature emerged from earlier genres like Gothic and explores themes of isolation in the South.
The document then provides a brief history of how Gothic literature evolved into Southern Gothic through influences like Romanticism and American Naturalism. It discusses key characteristics of these genres and how they contributed to defining elements of Southern Gothic literature.
The thesis will analyze popular lyrics from genres like folk, country and bluegrass that have roots in the Southern US. It aims to show how these lyrics share thematic elements with Southern Gothic literature and should be considered a poetic extension of the genre. It
Conquest through immigration-george_w_robnett-1968-404pgs-pol-relRareBooksnRecords
This document provides an overview and table of contents for a book titled "Conquest Through Immigration: How Zionism Turned Palestine Into a Jewish State". The summary includes:
1) The book aims to document how political Zionism used immigration, politics, and military action to establish Israel as a Jewish state in Palestine despite Arab opposition.
2) It outlines 20 chapters that will examine the roles of Zionism, Britain, the US, and other forces in the Zionist-Arab conflict over Palestine from the late 19th century to the 1948 war.
3) The introduction explains that the book seeks to shed light on important historical events that have been "swept under the carpet", including the plight of Palestinian
This document is a research proposal for a senior project that will examine the concepts of authenticity and hybridity in world music. The author proposes to write a 25+ page research paper utilizing peer-reviewed sources to cover background information on the origins of world music as a genre and perspectives from scholars, industry personnel, and musicians. The author hypothesizes that some degree of hybridity is always present in world music and that perceptions of authenticity influence how different levels of hybridity are received. The proposal provides an annotated bibliography summarizing several academic sources that will inform the author's analysis of these key concepts in world music.
This document discusses hip hop culture in Medellín, Colombia and argues it can be considered a social movement. It acknowledges that traditional social movement theories, which emphasize political opportunities and the state, may not view hip hop as a social movement given it operates in the cultural rather than political sphere. However, newer constructionist approaches emphasize culture, identity and emotions, which helps frame hip hop as a form of social protest through cultural resistance. The document examines how hip hop culture emerged in Medellín in the 1990s amid violence and state repression, and was a platform to promote social justice. It aims to understand how well theories interpret hip hop movements and their impact through case studies of hip hop organizations in Medellín.
The document provides an overview of the Harlem Renaissance period between World War I and the Great Depression when black artists and writers flourished. It discusses how the migration of African Americans to northern cities like Harlem led to a cultural flowering. Black intellectuals promoted showcasing black artistic achievements to help whites accept African Americans. Magazines featured writers like Langston Hughes and Zora Neale Hurston. White patronage supported black arts but funding declined in the 1930s Great Depression. The document also introduces Zora Neale Hurston as an anthropologist and author who documented black folklore and culture through novels like Their Eyes Were Watching God.
This document summarizes an ethnographic study of cultural events organized by young Russian Israelis in Tel Aviv to celebrate their collective memory and claim belonging. The study is based on participant observation of four public celebrations held by the Fishka cultural association: International Women's Day, Passover Seder, Memouna celebrations, and Holocaust Remembrance Day. These events blend Russian-Soviet, Jewish, and Israeli traditions and allow the young immigrants to express their hybrid identity and reinforce their visibility and place in Tel Aviv's diverse urban culture.
Mario Vargas Llosa and His Contribution in the Latin American Literatureijtsrd
C. Aguirre Transmodernity this can be a crucial contribution to the already teeming listing on statesman Llosa’s extended flight and oceanic literary and intellectual output, and is one in every of the only a few works that focuses on his role as public intellectual exactly thanks to that, this reviewer was stunned that the author doesn’t cite the necessary work by Maasteen van Delden and Yvon Grenier, Gunshots at the party. Literature and Politics in geographic area 2009 , in one in every of whose chapters, “The personal and therefore the Public Mario Vargas Llosa on Literature and Politics,” they address a number of a similar problems that Diamond State Castro tackles in his book. Van Delden and Grenier build the relevant points that “his positions have modified, however not his inclinations or attitudes,” so inform to a continuity in his role as public intellectual, which “Vargas Llosa may be a fairly consistent and outspoken public intellectual while not being as sure jointly may think”, that speaks to his flight as associate freelance and sometimes maverick intellectual. Mrs. Ayesha Faiz Siddiqui "Mario Vargas Llosa and His Contribution in the Latin American Literature" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-6 , October 2020, URL: https://www.ijtsrd.com/papers/ijtsrd33576.pdf Paper Url: https://www.ijtsrd.com/humanities-and-the-arts/english/33576/mario-vargas-llosa-and-his-contribution-in-the-latin-american-literature/mrs-ayesha-faiz-siddiqui
The document provides information about the Harlem Renaissance period between World War I and the Great Depression when black artists and writers flourished. It discusses how Harlem became the epicenter of black culture during this time due to the large population of African Americans who migrated north for work opportunities. White intellectuals embraced black artists and their works that educated people about black heritage and culture. However, financial backing declined in the early 1930s due to the economic depression, bringing an end to the Renaissance. The document also introduces the poet Langston Hughes and author Zora Neale Hurston, discussing some of their notable works.
Book reviews published in Association of Jewish Libraries Reviews for Feb/Mar...Nathan Rosen
This summary provides an overview of reviews of several nonfiction titles for adults. A book on American Jewish life in the early 20th century includes interviews with cultural and nominal Jews. A biography of Alfred Dreyfus places his writings in cultural context but uses dense language. A collection of essays by women discussing their experiences reciting Kaddish offers personal perspectives and community issues. An American rabbi's observations of daily life in Cairo provide insights into Egyptian society and the country's Jewish community. The reviewed works cover topics including French far-right intellectuals, Ashkenazi halakha, a family history during times of war in Hungary, and the early history of the American Zionist women's organization Hadassah. The reviews evaluate
Hip-hop emerged in the 1970s in the Bronx as a way for black Americans to establish a collective identity. It grew out of the social and economic inequality experienced by black communities in urban areas like New York City. Hip-hop utilized new rhythmic styles and sampling to create a unique sound that represented the experiences of black Americans. While initially meant to unite marginalized communities, hip-hop eventually spread more broadly and capitalized on the music industry. However, it maintained its identity and message of addressing social issues through meaningful lyrics. Artists like Kendrick Lamar continue this tradition while others focus more on commercial appeal. Overall, hip-hop used its music and culture to both establish a black identity and spread awareness of racial in
This document discusses two medieval "peasant visions" from the late 12th-early 13th centuries that provide insight into oral and written culture of the time period. It analyzes the Visions of Thurkill and Godeschalk, which were accounts of visions experienced by simple peasants that were later written down by clergy. While some visions may have been fictional, these two are treated as genuine reflections of contemporary folk beliefs that shed light on views of the afterlife and religious ideology. The document examines how the visions reveal the interplay between oral tradition and written texts shaped by ecclesiastical influences.
The Multilayered Question of Disillusionment and Loss of Faith in Modern Amer...wafa harbaoui
This chapter discusses the influence of modernism on American literature in the early 20th century. It outlines some of the major literary waves that emerged from modernism, including an emphasis on individualism, experimentation, absurdism, and symbolism. Writers began focusing more on individual experiences and challenging social norms. Figurative language also became more prominent. The chapter then examines how modernism brought themes of realism, naturalism, and psychoanalysis to the forefront of American literature. The 1920s saw further divergence, with innovative prose themes and new devices used in works. Overall, modernism sparked radical changes in American literature by pushing writers to find new ways of expressing themselves and reflecting the harsh realities of the postwar period.
What Defines American?: The Sociopolitical and Cultural Rift Between the Unit...Thalia Pope
Literary analysis and translation of modernist poet Rubén Darío's poem "A Roosevelt." Analyzes the historical and cultural context of the poem as well as its critical treatment of Theodore Roosevelt's and the United States interventionist and expansionist policies in the late nineteenth and early twentieth centuries.
Copyright: All rights reserved. Downloading, screenshots, and any and all forms of reproduction and/or distribution are prohibited.
Media Popular Culture, and the American CenturyKate Doronina
Edited by Kingsley Bolton and Jan Olsson,
Sweden, 2010
Introduction: Mediated America: Americana as Hollywoodiana
Part 1: Cinema and Americanization
Part 2: Americans at the Margins
Part 3: American Dreams/American Nightmares
Part 4: America Goes Digital
This document provides an abstract and introduction for an essay examining attitudes towards musical hybridity in the context of globalization. It will use Jolin Tsai's music videos as a case study to explore concepts of authenticity, hybridity, and the global-local dynamic. While acknowledging critiques of commodification in world music, the essay will argue that these need to consider regional particularities, like Taiwan's relationship with Western and Japanese influences. It will analyze Tsai's music videos for examples of Western stylistic appropriation and the incorporation of diverse aesthetic elements from multiple cultures.
This document discusses cultural relativism and its implications for intercultural communication. It begins by defining cultural relativism as the belief that cultural practices should be assessed within their own context rather than by outside standards. While cultural relativism promotes cultural understanding, it is not without challenges. Some argue cultures are not static and influence each other through globalization. The document concludes that cultural relativism supports principles of mutual understanding and non-imposition in intercultural exchange. Specific cultural elements can be evaluated individually but one should not view entire cultures as superior or inferior to others.
A discussion on the emergence of World Englishes - varieties other than the US or UK standards and the proposition of Global English as a lingua franca. The implications of these issues on English Language Teaching are consequently considered.
Short presentation about the role of English within the countries of the European Union. Including a discussion on 'Euro-English' as a (possibly) emerging new variety of English.
This book analyzes certain social and musical aspects of hip hop in various African countries through contributions from thirteen international scholars. It discusses how hip hop emerged as a social movement in the 1980s through break dancing and later became a musical genre as the African hip hop industry developed in the 1990s. The chapters examine hip hop's development in individual countries, solo artists, and its fusions with other genres. While providing historical and qualitative information on African hip hop, the book does not deeply analyze issues of race and identity explored in other hip hop literature.
The document discusses marginalized audiences and their consumption of popular culture. It examines how women, gay people, and the Philippine masses make meaning from cultural products based on their experiences. Several works are analyzed that look at how these groups interpret texts and assert their own readings, including studies on Filipino gay men living abroad, superhero characters in the Philippines, and women's reading of romance novels. The document advocates that marginalized audiences deserve to have their interpretations and pleasures taken seriously rather than being dismissed.
This document contains a summary of a college literature class. It discusses accidental vs incidental, introduces poems about rain blowing away papers, and sets the agenda to choose new discussion groups. It then provides a lecture on the Harlem Renaissance historical context between WWI and the Great Depression when black artists flourished. Specific details are given about the migration of African Americans to northern cities and their questioning of second-class status after fighting in WWI. Discussion questions are posed about Langston Hughes' poems "The Negro Speaks of Rivers" and "I, Too, Sing America". Groups then discuss connections between blues music and race in Hughes' poem "The Weary Blues". The document ends by introducing the works of Zora Neale
Millstream and North West Arm Manuscript April 24, 2016Michael Ball
This document provides context for a book examining the history of the Millstream Valley in Kings County, New Brunswick from 1784 to the present. It discusses previous local histories of the area, which relied on oral histories and lacked detailed analysis. The author aims to interpret settlement patterns and social life in the valley through analysis of land grants, census records, and other archival materials. The methodology examines a cross-section of families who received land grants and those who later purchased or inherited land. The goal is to show the cultural and economic diversity of the early settler population and gain insights into why families chose particular locations.
This document is a thesis by Samuel Washburn analyzing popular lyrics as a poetic extension of Southern Gothic literature. It begins with an introduction outlining how Southern Gothic literature emerged from earlier genres like Gothic and explores themes of isolation in the South.
The document then provides a brief history of how Gothic literature evolved into Southern Gothic through influences like Romanticism and American Naturalism. It discusses key characteristics of these genres and how they contributed to defining elements of Southern Gothic literature.
The thesis will analyze popular lyrics from genres like folk, country and bluegrass that have roots in the Southern US. It aims to show how these lyrics share thematic elements with Southern Gothic literature and should be considered a poetic extension of the genre. It
Conquest through immigration-george_w_robnett-1968-404pgs-pol-relRareBooksnRecords
This document provides an overview and table of contents for a book titled "Conquest Through Immigration: How Zionism Turned Palestine Into a Jewish State". The summary includes:
1) The book aims to document how political Zionism used immigration, politics, and military action to establish Israel as a Jewish state in Palestine despite Arab opposition.
2) It outlines 20 chapters that will examine the roles of Zionism, Britain, the US, and other forces in the Zionist-Arab conflict over Palestine from the late 19th century to the 1948 war.
3) The introduction explains that the book seeks to shed light on important historical events that have been "swept under the carpet", including the plight of Palestinian
This document is a research proposal for a senior project that will examine the concepts of authenticity and hybridity in world music. The author proposes to write a 25+ page research paper utilizing peer-reviewed sources to cover background information on the origins of world music as a genre and perspectives from scholars, industry personnel, and musicians. The author hypothesizes that some degree of hybridity is always present in world music and that perceptions of authenticity influence how different levels of hybridity are received. The proposal provides an annotated bibliography summarizing several academic sources that will inform the author's analysis of these key concepts in world music.
This document discusses hip hop culture in Medellín, Colombia and argues it can be considered a social movement. It acknowledges that traditional social movement theories, which emphasize political opportunities and the state, may not view hip hop as a social movement given it operates in the cultural rather than political sphere. However, newer constructionist approaches emphasize culture, identity and emotions, which helps frame hip hop as a form of social protest through cultural resistance. The document examines how hip hop culture emerged in Medellín in the 1990s amid violence and state repression, and was a platform to promote social justice. It aims to understand how well theories interpret hip hop movements and their impact through case studies of hip hop organizations in Medellín.
The document provides an overview of the Harlem Renaissance period between World War I and the Great Depression when black artists and writers flourished. It discusses how the migration of African Americans to northern cities like Harlem led to a cultural flowering. Black intellectuals promoted showcasing black artistic achievements to help whites accept African Americans. Magazines featured writers like Langston Hughes and Zora Neale Hurston. White patronage supported black arts but funding declined in the 1930s Great Depression. The document also introduces Zora Neale Hurston as an anthropologist and author who documented black folklore and culture through novels like Their Eyes Were Watching God.
This document summarizes an ethnographic study of cultural events organized by young Russian Israelis in Tel Aviv to celebrate their collective memory and claim belonging. The study is based on participant observation of four public celebrations held by the Fishka cultural association: International Women's Day, Passover Seder, Memouna celebrations, and Holocaust Remembrance Day. These events blend Russian-Soviet, Jewish, and Israeli traditions and allow the young immigrants to express their hybrid identity and reinforce their visibility and place in Tel Aviv's diverse urban culture.
Mario Vargas Llosa and His Contribution in the Latin American Literatureijtsrd
C. Aguirre Transmodernity this can be a crucial contribution to the already teeming listing on statesman Llosa’s extended flight and oceanic literary and intellectual output, and is one in every of the only a few works that focuses on his role as public intellectual exactly thanks to that, this reviewer was stunned that the author doesn’t cite the necessary work by Maasteen van Delden and Yvon Grenier, Gunshots at the party. Literature and Politics in geographic area 2009 , in one in every of whose chapters, “The personal and therefore the Public Mario Vargas Llosa on Literature and Politics,” they address a number of a similar problems that Diamond State Castro tackles in his book. Van Delden and Grenier build the relevant points that “his positions have modified, however not his inclinations or attitudes,” so inform to a continuity in his role as public intellectual, which “Vargas Llosa may be a fairly consistent and outspoken public intellectual while not being as sure jointly may think”, that speaks to his flight as associate freelance and sometimes maverick intellectual. Mrs. Ayesha Faiz Siddiqui "Mario Vargas Llosa and His Contribution in the Latin American Literature" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-6 , October 2020, URL: https://www.ijtsrd.com/papers/ijtsrd33576.pdf Paper Url: https://www.ijtsrd.com/humanities-and-the-arts/english/33576/mario-vargas-llosa-and-his-contribution-in-the-latin-american-literature/mrs-ayesha-faiz-siddiqui
The document provides information about the Harlem Renaissance period between World War I and the Great Depression when black artists and writers flourished. It discusses how Harlem became the epicenter of black culture during this time due to the large population of African Americans who migrated north for work opportunities. White intellectuals embraced black artists and their works that educated people about black heritage and culture. However, financial backing declined in the early 1930s due to the economic depression, bringing an end to the Renaissance. The document also introduces the poet Langston Hughes and author Zora Neale Hurston, discussing some of their notable works.
Book reviews published in Association of Jewish Libraries Reviews for Feb/Mar...Nathan Rosen
This summary provides an overview of reviews of several nonfiction titles for adults. A book on American Jewish life in the early 20th century includes interviews with cultural and nominal Jews. A biography of Alfred Dreyfus places his writings in cultural context but uses dense language. A collection of essays by women discussing their experiences reciting Kaddish offers personal perspectives and community issues. An American rabbi's observations of daily life in Cairo provide insights into Egyptian society and the country's Jewish community. The reviewed works cover topics including French far-right intellectuals, Ashkenazi halakha, a family history during times of war in Hungary, and the early history of the American Zionist women's organization Hadassah. The reviews evaluate
Hip-hop emerged in the 1970s in the Bronx as a way for black Americans to establish a collective identity. It grew out of the social and economic inequality experienced by black communities in urban areas like New York City. Hip-hop utilized new rhythmic styles and sampling to create a unique sound that represented the experiences of black Americans. While initially meant to unite marginalized communities, hip-hop eventually spread more broadly and capitalized on the music industry. However, it maintained its identity and message of addressing social issues through meaningful lyrics. Artists like Kendrick Lamar continue this tradition while others focus more on commercial appeal. Overall, hip-hop used its music and culture to both establish a black identity and spread awareness of racial in
This document discusses two medieval "peasant visions" from the late 12th-early 13th centuries that provide insight into oral and written culture of the time period. It analyzes the Visions of Thurkill and Godeschalk, which were accounts of visions experienced by simple peasants that were later written down by clergy. While some visions may have been fictional, these two are treated as genuine reflections of contemporary folk beliefs that shed light on views of the afterlife and religious ideology. The document examines how the visions reveal the interplay between oral tradition and written texts shaped by ecclesiastical influences.
The Multilayered Question of Disillusionment and Loss of Faith in Modern Amer...wafa harbaoui
This chapter discusses the influence of modernism on American literature in the early 20th century. It outlines some of the major literary waves that emerged from modernism, including an emphasis on individualism, experimentation, absurdism, and symbolism. Writers began focusing more on individual experiences and challenging social norms. Figurative language also became more prominent. The chapter then examines how modernism brought themes of realism, naturalism, and psychoanalysis to the forefront of American literature. The 1920s saw further divergence, with innovative prose themes and new devices used in works. Overall, modernism sparked radical changes in American literature by pushing writers to find new ways of expressing themselves and reflecting the harsh realities of the postwar period.
What Defines American?: The Sociopolitical and Cultural Rift Between the Unit...Thalia Pope
Literary analysis and translation of modernist poet Rubén Darío's poem "A Roosevelt." Analyzes the historical and cultural context of the poem as well as its critical treatment of Theodore Roosevelt's and the United States interventionist and expansionist policies in the late nineteenth and early twentieth centuries.
Copyright: All rights reserved. Downloading, screenshots, and any and all forms of reproduction and/or distribution are prohibited.
Media Popular Culture, and the American CenturyKate Doronina
Edited by Kingsley Bolton and Jan Olsson,
Sweden, 2010
Introduction: Mediated America: Americana as Hollywoodiana
Part 1: Cinema and Americanization
Part 2: Americans at the Margins
Part 3: American Dreams/American Nightmares
Part 4: America Goes Digital
This document provides an abstract and introduction for an essay examining attitudes towards musical hybridity in the context of globalization. It will use Jolin Tsai's music videos as a case study to explore concepts of authenticity, hybridity, and the global-local dynamic. While acknowledging critiques of commodification in world music, the essay will argue that these need to consider regional particularities, like Taiwan's relationship with Western and Japanese influences. It will analyze Tsai's music videos for examples of Western stylistic appropriation and the incorporation of diverse aesthetic elements from multiple cultures.
This document discusses cultural relativism and its implications for intercultural communication. It begins by defining cultural relativism as the belief that cultural practices should be assessed within their own context rather than by outside standards. While cultural relativism promotes cultural understanding, it is not without challenges. Some argue cultures are not static and influence each other through globalization. The document concludes that cultural relativism supports principles of mutual understanding and non-imposition in intercultural exchange. Specific cultural elements can be evaluated individually but one should not view entire cultures as superior or inferior to others.
A discussion on the emergence of World Englishes - varieties other than the US or UK standards and the proposition of Global English as a lingua franca. The implications of these issues on English Language Teaching are consequently considered.
Short presentation about the role of English within the countries of the European Union. Including a discussion on 'Euro-English' as a (possibly) emerging new variety of English.
This document provides an overview of a book titled "World English: A Study of its Development" by Janina Brutt-Griffler. The book examines how English has become a global language through the processes of language spread and language change. It argues that English owes its status as a world language not just to imperialism, but also to the agency of non-native English speaking communities in reshaping the language. The book aims to connect the study of how English spread with how it changed, in order to understand how post-colonial writers have made English their own. It proposes analyzing English's global development through the lens of "macroacquisition" by bilingual speech communities rather than through political or social frameworks.
1) English has become a global language with more non-native speakers than native speakers. It is spoken by over 1.5 billion people worldwide and is used extensively in business, science, and pop culture.
2) Braj Kachru coined the term "World Englishes" to describe the diverse varieties of English that have developed as the language has spread globally. While traditionally only British English was considered the standard, Kachru argued that local Englishes have developed their own rules and norms.
3) English is becoming localized in many countries, taking on aspects of local languages and cultures while still providing a common means of global communication. It is growing as a means of cultural expression rather than solely as
The document discusses the concept of World Englishes and its development over time. It covers several key topics:
- Kachru's model of concentric circles that categorizes varieties of English into Inner Circle, Outer Circle, and Expanding Circle.
- The stratification of English and how its functions have been studied in various interactional contexts across circles.
- Issues around bilingual creativity in English literatures from places in contact with English. This has resulted in multicanons and a shift in the traditional English canon.
- Sociolinguistic factors like nativization and Englishization that have shaped the development of English varieties worldwide.
- Pedagogical reasons for teaching
This presentation discusses World Englishes and its emergence and development over time. It defines World Englishes as localized varieties of English that have developed in territories influenced by Britain. The presentation outlines different models of World Englishes, including Kachru's three-circle model classifying varieties based on their status. It also discusses debates around issues like errors versus differences in indigenous Englishes and the influence of languages and cultures on emerging Englishes. The presentation concludes by considering the future of World Englishes in terms of multilingualism, multiculturalism and linguistic human rights.
The document provides information about opportunities and requirements for teaching English in various Asian countries. It discusses the benefits of international experience and cultural immersion while earning an income. Locations that need English teachers are listed, along with advice on researching specific countries, applying for jobs, and preparing for interviews. Tips are offered on adjusting to life abroad and making the most of travel opportunities.
Music and the New CosmopolitanismProblems and Possibilities.docxgemaherd
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American.
Music and the New CosmopolitanismProblems and Possibilities.docxroushhsiu
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American ...
The Role of Code-Switching in Rap and Hip Hop Culture Essay Example .... Hip hop culture Thesis Proposal Example | Topics and Well Written .... Hip-hop Culture Essay | bigpaperwriter.com. Critical culture perkins droppinscience essay hip hop music rap .... Influence of Hip-hop and Rap Free Essay Example. Society & Culture Hip Hop Essay | Society and Culture - Year 11 HSC .... Hip-Hop Planet Essay | Hip Hop Music | Hip Hop. hip hop culture coursework assignment, hip hop culture essay help. Free hip hop culture essays and papers 123helpme. Hip-hop research paper - Get Help From Custom College Essay Writing and ....
This document discusses the authority of sources in theology and biblical scholarship. It argues that sources outside the biblical canon, like the Apocrypha, should not automatically be seen as non-authoritative. It uses hip hop culture as an analogy to the Apocrypha, calling it the "Hiphopcrypha." While distinct from traditional theological sources, hip hop informs and critiques Christian theology while also constructing its own. The paper seeks to evaluate some of the theological sensibilities present in rap music and explore how hip hop can be used as an authoritative resource in theology.
Black Nationalism and Rap Music Dr. Errol A. HendersonRBG Communiversity
Henderson, Errol, Black Nationalism and Rap Music (1992) Bibliographic Section: African American History. Bibliographic Subject: Black Nationalism and Black Power
This document introduces the concept of cultural studies in Italy. It summarizes that cultural studies is an emerging field that brings together diverse disciplines like anthropology, film, gender studies, and media to study culture. In Italy, these disciplines have traditionally been separate. The document also notes that the concept of "culture" in Italy has long been associated with education, literacy and high arts. This narrow definition has been resilient despite social changes. The document aims to stimulate new ways of studying Italian culture and society through a cultural studies approach.
This document discusses the challenges of writing an essay about hip hop. It notes that exploring hip hop's roots in 1970s Bronx requires understanding the socioeconomic conditions. Discussing hip hop's evolution as a global phenomenon necessitates research into its elements like MCing, DJing, and graffiti art. Analyzing hip hop lyrics requires appreciation for language, rhythm, and rhyme schemes as well as socio-political messages. Examining hip hop's influence on culture involves fashion, language, and politics. Capturing hip hop's cultural significance and the emotions in the music challenges writers to balance academic analysis with lived experiences in the hip hop community.
Anthropological Perspectives On Popular CultureStacy Taylor
This document provides an overview of anthropological perspectives on popular culture. It discusses how anthropologists were initially ambivalent about popular culture due to theoretical and political reasons, but interest has grown over the past three decades. Currently, there are three significant arenas of anthropological interest: how popular culture can be used for resistance, its relationship to religion, and how it relates to politics of difference. The document traces the history of the concept of popular culture and how anthropological approaches have been influenced by cultural studies and a turn toward urban ethnography in southern Africa.
Global Media, Cultural Change and the Transformation of the Local: The Contri...leticiaczanella
Global media products like films, music, and television shows are spread globally but locally re-expressed through processes of hybridization. While symbols and ideologies from global media are interpreted locally, this does not produce a standardized global culture. Examples discussed include the appropriation of Rambo and hip hop in local cultures, and the hybrid identity construction through the global diffusion and local reception of Dallas, Brazilian telenovelas, and Mexican telenovelas. The author argues that the current global media culture is dynamic, differentiated, and pluralized through consumer practices and reception, challenging views of negative cultural consequences of globalization.
A Case For The New Historical Novel (Dissertation)Nicole Heredia
This summary provides an overview of the document in 3 sentences:
The document proposes the emergence of a new genre called the New Historical novel in the 1980s that blurs the lines between history and fiction. It analyzes two novels, Beloved and Myself and Marco Polo, that address how reality and history are socially constructed. The document argues that the New Historical novel both satisfies commercial appeal and explores postmodern literary theories around concepts like intertextuality and the heterotopia.
Alexander Pope A Poet On The Margins And In The CenterTracy Morgan
This document discusses Alexander Pope's paradoxical position as both a marginalized outsider and central figure in 18th century English culture and literature. While Pope faced exclusion due to his Catholic faith, physical disability, and oppositional political views, he was also widely considered the greatest English poet of his age. Pope sought to control his works and public image through ambitious collected editions. This positioned him as one of the first modern authors and demonstrated both his pride in his talents and his desire to assert himself at the center of cultural debates in his time.
Promoting academic literacy with urban youth through engaging hip hop cultureEmma Grice
This article discusses how hip-hop culture can be used to promote academic literacy among urban youth. The authors note that hip-hop has influenced youth across racial lines and exhibits critical thinking skills valued in academic settings. They decided to use hip-hop music and culture to forge meaningful discussions centered on students' lives that promote literacy and critical consciousness. The article argues hip-hop lyrics concentrate on African American experiences and can be analyzed through feminist, Marxist, and other lenses to spark debates on issues facing urban youth.
2009 Final Dissertation, Media and Cultural Studies 'Higher than the Sun'Robert McPherson
This document discusses dance music culture and the concept of space and place within it. It begins with definitions of space and place, discussing how dance culture utilizes these concepts through its association with sites of resistance via loud music, drug use, and all-night dancing. It then provides historical context on the origins of dance culture in 1970s New York City, Chicago, Detroit, and the UK acid house scene of the late 1980s. It discusses how these early scenes involved marginalized groups and represented spaces of expression and defiance against mainstream society. The document goes on to discuss other topics in subsequent chapters.
This document discusses different types of culture, including:
1. High culture which includes fine arts, opera, and architecture held in high esteem by educated classes.
2. Popular culture which appeals to masses and includes trends, fashion, and artists like Frank Sinatra that were popular but are now forgotten.
3. Low culture which is a disparaging term for forms of popular culture appealing to masses, like pulp fiction, reality TV, and exploitation films.
4. Hybrid culture which is a mixture of elements from two or more cultures, as many people now enjoy both high art and popular culture.
5. Mass culture which refers to how culture is mass produced, distributed, and marketed to
Alexander Weheliye on desiring for a different worldYHRUploads
This interview with Alexander Weheliye, Professor of African American Studies at Northwestern, comprises part of The 1701 Project, a venture led by The Yale Historical Review.
The socio political influence of rap music as poetry in the urbanJonathan Dunnemann
This thesis examines the socio-political influence of rap music as a form of poetry in urban communities. It focuses on three seminal rap artists: Public Enemy, N.W.A., and Tupac Shakur. The thesis argues that rap music, like traditional poetry, stands as a means of creative expression for African Americans and also addresses social and political issues. It traces the roots of rap music to the black oral tradition and discusses how rap picked up where the Black Nationalist literature of the 1960s left off in using unconventional forms to challenge mainstream ideologies. The thesis analyzes the progression of Public Enemy's message from political critique to a more integrationist approach and examines how N.W.A. and T
This document discusses the "Blues Aesthetic" and the "Black Aesthetic" as political expressions of African American culture. It argues that the Blues arose in the late 19th/early 20th century as a secular expression of African American musical culture that summed up their lives and history. The Blues reflects earlier African American musical developments and forms a reflection of post-Civil War African American culture that was no longer limited to religious references or social restraints of slavery. The document also discusses how the Black Aesthetic is rooted in ancient African animist beliefs and emphasizes continuity, endlessness, and the interconnection of all things. It traces how aspects of ancient African culture and aesthetics are reflected in various elements of African American
Essay On Republic Day. Essay Writing On Republic Day In English | PDF. Essay on Republic Day for Students and Children Love You English Essay. गणतंत्र दिवस 2024 पर निबंध - Republic Day Essay 2023 in Hindi for .... Information On Republic Day Deals Store, Save 44% | jlcatj.gob.mx. #RepublicDayEssay #EssayonRepublicDay #NCERTBooksGuru | Essay on .... Republic Day Speech in English 10 Lines [2023] in 2023 | Republic day .... Republic Day Essay 2023 Simple Essay on 26th January (PDF). विभिन्न विषयों से जुडी महत्वपूर्ण जानकारी | भारत के गणतंत्र दिवस पर .... Socio-cultural anthropology at the University of Missouri - Essay Help .... 10-lines-on-republic-day-of-india - TeachingBanyan.com. Republic Day Essay | Essay on Republic Day for Students and Children in .... 100+ Quotes for Republic Day: Inspiring Messages for Patriotism | HIX.AI. Essay on Republic Day in English for Class 1 to 12 Students. Essay on Republic Day for Students | Tips | Samples | Leverage Edu. Happy Republic Day 2021 Speech and Essay in Hindi and English. Republic Day Essay in English 10 Lines | Republic Day 10 Lines. Republic Day Essay in English for Class 1, 2 & 3: 10 Lines, Short .... Essay on Republic Day for Students | Republic Day Essay for Students in ....
This document outlines the course description, requirements, policies, schedule, and learning outcomes for an interdisciplinary course on Pacific Islander history and culture (ICS 21) paired with a composition course (EWRT 1A). The courses will examine the experiences and contemporary issues of Pacific Islander communities in the US through readings, discussions, presentations and writing assignments. Students will analyze the impact of colonialism, compare social and cultural patterns, and apply oral storytelling traditions. Requirements include journals, presentations, in-class and take-home essays, and a research paper. The tentative schedule provides an overview of topics to be covered each week such as oral histories, militarization, resistance movements, and decolonization.
This document outlines the syllabus for a hybrid Intercultural Studies and Composition course focusing on Pacific Islander history and culture. The course will be taught by two instructors and meet in-person four days a week, with an additional required online hour. Students will examine topics like Pacific Islander communities in the US, oral storytelling traditions, the impacts of colonialism, and contemporary issues. Assignments include presentations, journal responses, essays, and a research paper. The course aims to develop students' understanding of Pacific Islander experiences and refine their reading, writing, and critical thinking skills.
This document provides a rubric to evaluate presentations on a scale from excellent to fair. It evaluates introductions, quality and depth of information about the interviewee, use of visual aids, and cooperation between presenters. An excellent presentation includes a clear introduction, precise and in-depth information representing major events of the interviewee's life, high-quality visual aids relevant to the topic, and equal work between cooperative presenters. A fair presentation lacks an introduction, has insufficient information about the interviewee, no visual aids, and an uncooperative effort with uneven work between presenters.
This document provides a rubric for evaluating presentations with criteria such as the introduction, quality of information presented, depth of content, use of visual aids, and cooperation between partners. The criteria are rated on a scale from excellent to fair. An excellent rating requires a clear introduction, precise and in-depth information representing major interview details, use of high-quality visual aids, and equal cooperation between partners. A fair rating is given for presentations lacking these key elements.
This document outlines the syllabus for an interdisciplinary course on Pacific Islander history and culture. The course will examine the experiences of various Pacific Islander communities in the United States through readings, presentations, essays and a research paper. Students will analyze patterns of social culture and values, the impact of colonialism, and the oral storytelling tradition. Assignments include journal responses, oral history presentations on students' family migrations, in-class and take-home essays, and a research paper on a topic approved by the instructors. The course will cover topics like family dynamics, contemporary issues, militarization, Christianity, resistance movements and decolonization.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
Militarization and identity on guam alexandertonysafyc
This document summarizes an academic article about the impacts of militarization on the indigenous Chamorro people of Guam. Over 400 years of Spanish and U.S. military colonial rule has devalued Chamorro culture and identity. The U.S. now controls a third of Guam's land for military bases. Using an intersectional analysis of gender, indigeneity and citizenship, the document examines how militarization has affected Chamorro bodies, identities and social relations in complex ways. It also discusses the history of Spanish colonization, how this disrupted traditional Chamorro gender roles and social hierarchy, and the impacts of continued U.S. military presence and proposed military buildup on Guam today
This document discusses two perspectives on Oceania - as "islands in a far sea" and as "a sea of islands". The first view emphasizes the small isolated land areas, while the second sees Oceania holistically with a focus on the interrelationships between the islands and sea. The author argues that the traditional worldview of Oceanic peoples was of a large interconnected region, rather than isolated small islands. Promoting the view of Oceania as confined and dependent risks perpetuating the belittlement of islander cultures and limiting their autonomy. The author advocates shifting to a perspective that recognizes the historical and cultural significance of the seas in Oceania.
1) The human colonization of the Pacific Islands occurred in three main phases, with the earliest peoples settling Near Oceania like New Guinea and the Bismarck Archipelago over 35,000 years ago.
2) Between 3,500-2,800 years ago, the Lapita people colonized Remote Oceania using advanced seafaring skills, spreading as far as Fiji, Tonga, and Samoa. They left behind distinctive Lapita pottery.
3) The third phase saw the settlement of East Polynesia around 1,200 years ago, with peoples reaching places like Hawaii, New Zealand, and Easter Island remarkably quickly, showing sophisticated navigation abilities.
This document discusses the importance of decolonizing Pacific studies by incorporating indigenous perspectives from Oceania. It argues that Pacific studies has traditionally been dominated by Western frameworks that do not fully recognize indigenous ways of thinking. Decolonizing Pacific studies involves reclaiming indigenous knowledge and worldviews that have been suppressed or deemed less valuable. This will help develop a more culturally inclusive philosophy of education.
1) The document discusses the process of colonization and decolonization. It outlines 5 steps of colonization: denial, destruction, denigration, surface accommodation, and transformation/exploitation of indigenous cultures.
2) It then outlines 5 phases of decolonization: rediscovery/recovery, mourning, dreaming, commitment, and action. Rediscovery involves curiosity about one's history and culture after years of colonial domination promoting inferiority.
3) The author provides examples of rediscovery from their own experience and in Hawaiian society since the 1960s as awareness of injustice and illegality in the overthrow of the Hawaiian Kingdom grew, sparking cultural and political revival. Rediscovery is an ongoing process for many to
1. global noise and global englishes
ALASTAIR PENNYCOOK
Global Noise: Rap and Hip-Hop Outside the USA, alluding to Tricia Rose’s US rap-music book,
Black Noise, aims to do much more than merely extend the reach of the study of rap and hip-hop
beyond the USA, as its subtitle might suggest.1 While acknowledging the importance
of the work of both Rose and Potter,2 this collection’s editor, Tony Mitchell contests their
respective views that rap and hip-hop are essentially expressions of African-American cul-ture,
and that all forms of rap and hip-hop derive from these origins. He argues that these
forms have become ‘a vehicle for global youth affiliations and a tool for reworking local iden-tity
all over the world’. (1–2)
Indeed, the argument goes one step further, suggesting that more exciting develop-ments
can be found in different contexts around the world:
For a sense of innovation, surprise, and musical substance in hop-hop culture and rap music,
it is becoming increasingly necessary to look outside the USA to countries such as France,
England, Germany, Italy, and Japan, where strong local currents of hip-hop indigenization
have taken place. (3)
While, at one level, local development of rap and hip-hop can still be seen in terms of appro-priation
of African-American cultural forms—and there is still a tradition of imitation—at
another, the local context in which the form evolves may engage a quite different range of
cultural, musical and linguistic forms, mobilising a politics that may include anti-globalisation
and anti-Americanism.
192 VOLUME9 NUMBER2 NOV2003
2. In a discussion of na mele paleoleo (Hawaiian rap) developed by Sudden Rush, for example,
Fay Akindes argues that by bridging elements of political self-determination with popular
culture, this Hawaiian hip-hop has become ‘a liberatory discourse for Hawaiians seeking
economic self-determination in the form of sovereignty. Sudden Rush … have borrowed hip
hop as a counter-hegemonic transcript that challenges tourism and Western imperialism.’3
Similarly, Tony Mitchell claims that if Sydney rappers of Fijian and Tongan background, such
as Trey and Posse Koolism, combine with King Kapisi’s ‘Samoan hip-hop to the world’,
and if Sudden Rush’s Ku’e (Resist) has been influenced by Aotearoa–New Zealand Upper
Hutt Posse’s E Tu (Be Strong), then what we see is a ‘Pacific Island hip-hop diaspora’ and a
‘pan-Pacific hip-hop network that has bypassed the borders and restrictions of the popular
music distribution industry’. (31) Clearly this happens elsewhere in the world, as is shown
by Zuberi’s discussion of British, South Asian and Caribbean musical connections, which
have produced a ‘digitally enabled diasporic consciousness’.4
Global Noise looks at indigenisation of rap and hip-hop in France, the UK, Germany,
Bulgaria, the Netherlands, the Basque region, Italy, Japan, Korea, Australia, Aotearoa New
Zealand and Canada; it also considers Islamic hip-hop, particularly in France and the UK.
As Mitchell explains, these studies aim to avoid glib uses of postmodernism as an explana-tory
framework:
The essays in this book explore these national and regional appropriations of rap and hip-hop
within their different social, cultural and ethnic contexts. In doing so, they avoid the
clichéd Eurocentric rhetoric of postmodernism too often invoked in academic attempts to
explain rap inadequately in terms of pastiche, fragmentation, the loss of history, and the
blurring of boundaries between ‘high art’ and popular culture. (10)
As with any book that tries to look at the global context, there’s inevitably an enormous
amount missing. You won’t find South America, Africa or South Asia represented here. Over-all,
however, the book provides enough cases to carry the argument that localisation itself is
differently inflected when occurring in diverse contexts.
Alongside the specific themes that the book addresses—various music scenes; the need
to understand hip-hop in terms of local appropriations; and issues such as cultural imperial-ism,
globalisation, commercialisation, authenticity and localisation—other key ideas cut
across these and are worth discussing in greater depth. Two I would like to mention briefly
are captured in the tensions between globalisation and appropriation, and resistance and
normativity. Related themes that I will pursue are language and localisation, and directionality.
First, globalisation and appropriation. Writing about Bulgaria, Claire Levy remarks that
hip-hop constitutes:
ALASTAIR PENNYCOOK—GLOBAL NOISE 193
3. a global urban subculture that has entered people’s lives and become a universal practice
among youth the world over … From a local fad among black youth in the Bronx, it has
gone on to become a global, postindustrial signifying practice, giving new parameters of
meaning to otherwise locally or nationally diverse identities. (134)
Similarly, Ian Condry suggests that ‘Japanese hip-hop and other versions around the world
are interesting in part because they help us understand the significance of what seems to
be an emerging global popular culture’. (222) Such statements, however, present a certain
dilemma, as the central argument of the book is that hip-hop can no longer be seen as
derivative of African-American culture, but rather needs to be considered as locally indi-genised
and expressive of local cultural and political concerns. So what constitutes this
‘global, postindustrial signifying practice’, this ‘global popular culture’?
Ian Maxwell points to this concern when he warns of the dangers of:
the historico-documentary approach, subsuming specific cultural experiences to totalizing
narratives (for example, the kind of writing that takes as its theme an unproblematized
transcontextual continuity—say ‘hip-hop’—and views any local narrative engaging this
theme as an effect of that continuity). (266)
The point here is that while the book addresses the theme of localisation (not, it should be
said, without some ‘historico-documentary’ fabrications of continuity in national or ethno-graphically
construed local hip-hop scenes), it does not answer the question of what ‘a global
urban subculture’ or ‘an emerging global popular culture’ might be in relation to such
localisations.
This question is not merely about the relationship between global and local cultural forms
(a relationship never very adequately addressed by neologisms such as ‘glocalization’), but
rather a more difficult question: If the global is always also local, what is it that constitutes
the global? If global hip-hop is not the spread of this North American cultural form but rather
its local appropriation, is global hip-hop culture the sum of the parts of the localisations or
something else?
With regards to resistance and normativity, a commonly discussed tension lies between
the commercialised, sanitised world of the popular-music industry and the critical, resistant
roots of hip-hop. But there is, I believe, a strong case that can be made for the political
significance of hip-hop. Ted Swedenburg’s discussion, for example, shows how the relation-ship
between Islam and hip-hop bands such as Fun-Da-Mental in the UK and IAM in France
is significant and often overlooked. We need, he suggests, to realise the ‘importance of paying
close attention to popular cultural manifestations of “Islam” in Europe, given the ethnic,
political, and cultural importance of “Islam” to youth of Islamic backgrounds in Britain and
194 VOLUME9 NUMBER2 NOV2003
4. France’. (76) Indeed, post–September 11, we would do well to pay even closer attention
to the ways in which anti-racism and new formations of Islamic identity are being articulated
through popular culture. But hip-hop researchers are often in search of a local, disenfran-chised
politics and only reluctantly admit to it if ‘their’ rappers lack marginalisation:
In Japan, too, hip-hop is associated with place, but not any kind of marginalized residential
neighborhood or region. On the contrary, Japanese hip-hop is generally associated with
Shibuya, a trendy shopping district in Tokyo where many of the key nightspots and record
stores are located. (241)
Maxwell points to an aspect of this problem when he criticises work that ‘over-emphasizes
a purported “political” dimension to cultural practices, overreading them perhaps, from the
position of a nonreflexive organic intellectual’. (266) But the issue is not only that there is
the possibility of reading desirable politics into hip-hop and engaging, at times, in a roman-ticisation
of resistance, but also that there is, I believe, a non-reflexive normativity to those
politics. This is perhaps most obvious in a writer such as John Hutnyk, for whom the only
good music seems to be that which conforms to his anti-global capitalist and anti-racist
politics.5 In this book there is a tendency to admire those who distance themselves from the
violence of US ‘gangsta rap’ and espouse causes such as language maintenance, education,
the environment or anti-racism. There is, then, a normativity here that suggests not only that
mimicry of the US is problematic, and that syncretic, hybrid appropriations are preferable,
but also that adoption of certain political formations over others is preferable. There is of
course nothing wrong with this, but without a more reflexive accountability for their politics,
writers can collapse together aesthetic preferences and normative values because the cogs of
the critical machinery have worn out.
Turning to language and localisation, what interests me is the extent to which the lan-guage
in which rap is performed is linked to levels of appropriation and forms of politics.
Global Noise would have benefited from greater attention to issues of language use, which
was signalled by Mitchell in his introduction. Because the issue of localisation is central
(including the argument against US essentialism and authenticity) to the book, each contri-bution
necessarily operates around a distinction between the US and the rest. But to what
extent is this an issue of rap in English versus rap in other languages? With regards to the
Netherlands, Mir Wermuth argues that there is a local ‘Nederhopper’ culture, despite the
constant struggle over what is ‘authentic’, the small size of the Dutch market, the lack of
political commitment, the absence of a strong black (Dutch African-Caribbean) presence
and the tendency to use American-style rap English rather than Dutch. In the context of the
Netherlands, then, it seems possible to localise while using English.
ALASTAIR PENNYCOOK—GLOBAL NOISE 195
5. In the UK the issue is rather different, the question being what version of English to use.
With the strong African-Caribbean musical force in the UK, it has often been Jamaican English
that has predominated. One of the most interesting developments has been the growth of
Asian hip-hop bands, in which young British Asians have appropriated the forms of their
African-Caribbean neighbours. According to David Hesmondalgh and Caspar Melville: ‘The
productive syncretism of diasporic cultures is further demonstrated by the creative use British
Asian musicians have made of hip-hop as the basis of musical-cultural statements about how
they are negotiating new ethnic identities’. Thus, hip-hop is ‘only one node in a complex
web of postcolonial cultural elements’. (87) Regardless of the use of South Asian music
and Bollywood film samples, the issue for British-Asian hip-hop artists is generally one of
appropriating a form of English to articulate a new localisation.
For some, the dominant force is the ‘English speaking world’. Mark Pennay, writing about
hip-hop in Germany, suggests that ‘generalizations made about the characteristics of a genre
on the basis of its development within the English-speaking market cannot be transferred
wholesale to other national contexts’. (128, my emphasis) The use of German, therefore,
takes on considerable significance in this mode of appropriation. Similarly, with regards to
Italy, Tony Mitchell discusses the shift from English to standard Italian and then to Italian
dialects. Meanwhile in Quebec, according to Roger Chamberland, the growth of French-language
rap has, of course, been influenced by the large hip-hop scene in France (where,
as André Prévos and Tony Mitchell note, French has also been greatly influenced by Caribbean
and North African languages and creoles). This move to rap in local languages was partly a
result of difficulties with English. The development of German rap, for example, was to some
extent a result of the inaccessibility of Black-American English, particularly for former East
Germans. The use of local languages is also a political move. The Basque group Negu Gorriak
uses Basque language as a political statement about nationalism. And, as Jacqueline Urla tells
us, that group’s decision to use Basque (over Castillian) did not appear to weaken its appeal
elsewhere, giving it instead a sort of localised authenticity.
So what is the relationship between localisation and language? While it might be tempting
to assume that the development of rap in some minor language signals a greater level of indi-genisation,
we should be cautious as the relationship between language and culture is not
so simple. Tony Mitchell’s discussion of the Upper Hutt Posse shows not only that its use
of Maori is part of a strong political and cultural statement, but also that there is compati-bility
between rap and Maori forms of oral discourse. Fijian-Australian rapper Trey has made
the same point about hip-hop and Pacific Island cultures, suggesting that dance, graffiti, MC-ing
and rap have strong links to the traditional oral cultures of the Pacific. Of course, there
is a danger here of essentialising, and of suggesting intrinsic links between so-called oral
196 VOLUME9 NUMBER2 NOV2003
6. cultures. But at another level, it suggests that as the cultural forms of hip-hop become
indigenised through other languages (though Trey is discussing English-language rap), they
may have a better chance of encountering analogous forms within those cultures.
Given the extent to which language can be a difficulty for some in engaging with rap, it is
worth noting that hip-hop gets taken up in differing forms. In a number of contexts where
English is not the first language, break-dancing first gained people’s attention—in part because
of the cultural and linguistic difficulties in understanding rap, in part because of the more
immediate appeal of the physical. Thus, as Condry comments, ‘A striking feature of global
flows of popular culture, then, is that dance—movement of the body—moves easily across
linguistic and cultural boundaries, and that movies and videos are a primary channel for this
exchange’. (229) He goes on to conclude:
Language is a key variable for understanding Japanese hip-hop and for transnational
exchanges more generally. When we consider cultural globalization, we need to examine
what actually moves across the cultural divide, because that is how to get a sense of what
kind of divide it is. (231)
Language, then, is a crucial factor in processes of transfer and localisation. But in what direc-tion
is the transfer?
The North American cultural forms of rap and hip-hop may be in the process of becoming
localised, but is there an influence in the opposite direction? As Pennay comments in his dis-cussion
of rap in Germany, ‘Regrettably, the flow of new ideas and stylistic innovations in
popular music is nearly always from the English-speaking market, and not to it’. (128) Simi-larly,
Jacqueline Urla points out: ‘unequal relations between the United States record indus-try
and Basque radical music mean that Public Enemy’s message reaches the Mugurza brothers
[of Negu Gorriak] in Irun, and not vice versa’. (189) David Hesmondalgh and Caspar Melville
suggest a more reciprocal relationship between black cultures in Britain, the Caribbean, and
the US, where they can be seen as ‘linked in a complex network of cultural flows’.6 But to
what extent is this an issue of language and to what extent an issue of market size? Certainly,
French rappers such as MC Solar have influenced music in North America.
In a number of ways, the study of the global spread of English provides a useful parallel
to these studies of ‘global noise’. The issue of ownership—who owns English—has been
widely debated, and consensus seems to be moving towards those who use the language
rather than those who facilitate its spread. Hardline accusations of linguistic imperialism
have been countered by studies of periphery resistance to the spread of English and by
descriptions of new indigenised versions of English, such as Indian, Singaporean and Nigerian
English.7 Most recently, Janina Brutt-Griffler has argued convincingly that:
ALASTAIR PENNYCOOK—GLOBAL NOISE 197
7. the spread of English was not simply a unidirectional, top-down process. Rather, Africans
and Asians have significantly shaped the process of English spread. The formation of lan-guage
policy in British colonies shows the centrality of the struggle against imperialism to
the creation of World English.8
Clearly, then, globalisation, commodification, resistance and localisation are all key issues
when considering the spread of English. Indeed, some authors discuss English as a ‘glocal’
language just as Tony Mitchell discusses rap as a ‘glocal’ phenomenon.9
While emphasis has been increasingly placed on issues of agency, resistance and appro-priation
in the global spread of English within language studies, almost no work has taken
popular culture seriously. Rather, the focus of world Englishes has been predominantly on
the development of standardised versions of new national Englishes.10 These studies have
been largely based on a small sample of written language, ignoring the vastness of popular
language use and the political struggle bubbling beneath the surface. Arjuna Parakrama
argues that the ‘smoothing out of struggle within and without language is replicated in the
homogenizing of the varieties of English on the basis of “upper-class” forms’.11 This approach
to world Englishes, he suggests:
cannot do justice to those Other Englishes as long as they remain within the over-arching
structures that these Englishes bring to crisis. To take these new/other Englishes seriously
would require a fundamental revaluation of linguistic paradigms, and not merely a slight
accommodation or adjustment.12
Hip-hop, then, provides an excellent context for the study of these ‘Other Englishes’, and
particularly as they interact with other codes. As Mitchell suggests, ‘a common feature of the
hip-hop scenes in most of these countries is their multiethnic, multicultural nature as
vernacular expressions of migrant diasporic cultures’. (10) It is exactly this sort of dynamic
that seems to be missing from most studies of world Englishes to date. Further, Bent Preisler
points out in the Danish context that although formal classroom learning may previously
have been the principal means through which people came into contact with English, this
is no longer the case:
informal use of English—especially in the form of code-switching—has become an inherent,
indeed a defining, aspect of the many Anglo-American-oriented youth subcultures which
directly or indirectly influence the language and other behavioural patterns of young people
generally, in Denmark as well as in other EFL countries.13
Preisler goes on to show the broad knowledge of hip-hop slang among a group of Danish
hip-hop street dancers. The language of hip-hop may be, then, one of the best candidates
when looking for emergent global Englishes.
198 VOLUME9 NUMBER2 NOV2003
8. If we can develop an understanding of how global rap and hip-hop and the spread of
English are related, there are important considerations for educational and curricular out-comes.
Since these are the forms of popular culture in which many people are investing, as
educators, we too need to start engaging with these forms. In the case of the African youths
he studied in Canada, Awad Ibrahim asks: ‘whose language and identity are we as TESOL
professionals teaching and assuming in the classroom if we do not engage rap and hip-hop?’14
There is, then, the need to incorporate ‘minority’ linguistic and cultural forms into the class-room:
‘To identify rap and hip-hop as curriculum sites in this context is to legitimize otherwise
illegitimate forms of knowledge’.15 Further, it is important to get those in dominant cultural
groups (teachers, other students) to ‘be able to see multiple ways of speaking, being, and
learning’.16 Ibrahim concludes that, ‘maybe the time has come to close the split between
minority students’ identities and the school curriculum and between those identities and
classroom pedagogies, subjects and materials’.17
Global Noise is a fascinating book. Its central theme is that rap and hip-hop have moved
far beyond what are still claimed by some as their intrinsic US contexts. Mitchell stresses
that rap and hip-hop:
now operate in a global conglomeration of different local contexts, where many of the same
issues of roots, rootlessness, authenticity, appropriation, syncreticization, and commodifi-cation
and social dynamics that hip-hop scenes from Greenland to Aotearoa-New Zealand have
developed in establishing their ‘other roots’ illustrate that the globalization of rap music has
involved modalities of indigenization and syncretism that go far beyond any simple appro-priation
This book is very useful in thinking through issues of appropriation and globalisation in rela-tion
to the spread of English, and the inevitable gaps in its coverage leave me wanting to read
more. Further work might fruitfully consider modes of organisation other than the nation.
If hip-hop is such an urban phenomenon, what does rural hip-hop look like? It might also
consider the implications of English and non-English appropriations; the forms and impli-cations
of white middle-class hip-hop appropriations; or how non-national, diasporic alter-native
identities operate in relation to the national formations discussed here. There is certainly
scope for a follow-up volume to Global Noise.
ALASTAIR PENNYCOOK is Professor of Language in Education at the University of Technology,
Sydney. His interests include the cultural and political implications of the global spread of English.
ALASTAIR in notions of ‘world music’ … have again come into play. The diverse ‘glocal’ musical
of a U.S. musical and cultural idiom. (33)
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PENNYCOOK—GLOBAL NOISE 199
9. 200 VOLUME9 NUMBER2 NOV2003
1. Tony Mitchell (ed.), Global Noise: Rap and Hip-Hop
Outside the USA, Wesleyan University Press,
Connecticut, 2002.
2. Tricia Rose, Black Noise: Rap Music and Black
Culture in Contemporary America, Wesleyan
University Press, Hanover, 1994; Russell Potter,
Spectacular Vernaculars: Hip Hop and the Politics of
Postmodernism, State University of New York
Press, New York, 1995.
3. Fay Yokomizo Akindes, ‘Sudden Rush: Na
Mele Paleoleo (Hawaiian Rap) as Liberatory
Discourse’, Discourse, vol. 23, no. 1, 2001,
p. 95.
4. Nabeel Zuberi, Sounds English: Transnational
Popular Music, University of Illinois Press, Urbana,
2001.
5. John Hutnyk, Critique of Exotica: Music, Politics
and the Culture Industry, Pluto Press, London,
2000.
6. Mitchell, p. 87. See also Paul Gilroy, The Black
Atlantic: Modernity and Double Consciousness,
Verso, London, 1993.
7. The classic expression of the linguistic imperialist
position is Robert Phillipson, Linguistic
Imperialism, Oxford University Press, Oxford,
1992. The most cogent response to this book is
Suresh Canagarajah, Resisting Linguistic
Imperialism in English Teaching, Oxford University
Press, Oxford, 1999. There is now a massive body
of work available on the ways in which English
has been appropriated and indigenised; the classic
is Braj Kachru (ed.), The Other Tongue: English
Across Cultures (2nd edn), University of Illinois
Press, Urbana, 1992.
8. Janina Brutt-Griffler, World English: A Study of its
Development, Multilingual Matters, Clevedon,
2002, p. 107.
9. See for example Anne Pakir, ‘The Development of
English as a “Glocal” Language: New Concerns in
the Old Saga of Language Teaching’, in Ho Wa
Kam and C. Ward (eds), Language in the Global
Context: Implications for the Language Classroom,
SEAMEO Regional Language Centre, Singapore,
2001.
10. For an extended critique of this work, see my
article ‘Turning English Inside Out’, Indian Journal
of Applied Linguistics, vol. 28, no. 2, pp. 25–43,
2002.
11. Arjuna Parakrama, De-hegemonizing Language
Standards: Learning from (Post)colonial Englishes
about ‘English’, MacMillan, Basingstoke, 1995,
pp. 25–6.
12. Parakrama, p. 17.
13. Bent Preisler, ‘Functions and Forms of English in a
European EFL Country’, in T. Bex and R. Watts
(eds), Standard English: The Widening Debate,
Routledge, London, 1999, p. 244.
14. Awad Ibrahim, ‘Becoming Black: Rap and
Hip-hop, Race, Gender, Identity and the Politics
of ESL Learning’, TESOL Quarterly, vol. 33, no. 3,
1999, p. 366.
15. Ibrahim, p. 366.
16. Ibrahim, p. 367.
17. Ibrahim, p. 367.