![]() its enormous success, with the domain of the musical market and other assimilation processes such as clothing, which have nevertheless contributed to a mutation of hip-hop in a global culture.These last one are increasingly hybrid and involved in a recreational market system, where the changing nature of hip-hop allows the followings: Finally, I try to demonstrate (c) that today, a different dimension of hip-hop is implemented, whose features have changed in parallel with the transformations that have affected the metropolis and the youth cultures. outskirts and then the passage to a precise historical moment. Subsequently, I clarify (b) that the art of writing, in the form of Tag, and break dance have certificated the presence of young people from the U.S. the analysis, as a whole, of the symbolic values and of the meaning that these articulations represent for the main subjects of this culture.Ĭonsidering hip-hop as a juvenil culture, in the following pages, I reflect on (a) the origin of rap music, its interrelation with the Afro-American culture and the concept of blackness which it conveys.the investigation of its rituals-the subject areas of rap, writing and breaking 1.a reflection about geographical and territorial maps which have fostered its development (social, inter-ethnic ghettos).This means that, from these conceptualizations, a study of hip-hop articulated in this way should necessarily include the following: The third level consists in an analysis of the way in which the subculture is actually experienced by its builders ( Cohen, 1997, p. The structural and semiotic analysis refers to the means through which a culture reveals itself. The English sociologist illustrates at a first level of analysis, the necessity to investigate the historical and social context where a group is rooted and develops. The analysis will focus on the hip-hop of the beginning, since the middle of the Seventies and Eighties in the United States, but then it will broaden to a reflection on its diffusion and re-invented, with particular reference to the interactions with the globalization and the changes occurred in contemporary metropolis. In this paper, I expose how it is possible to investigate the hip-hop culture considering three levels of analysis-historical, structural-semiotic, and phenomenological-precisely as theorized by Cohen ( 1997) for his study on modern subcultures. These last one are increasingly hybrid and involved in a recreational, market system, where the changing nature of hip-hop allows: its enormous success, with the domain of the musical market and other assimilation processes, such as clothing, which have contributed to its mutation in a global culture, some margins of autonomy. Subsequently, I clarify (b) that the art of writing, in the form of Tag, and break dance have certificated the presence of young people from the United States outskirts, and then the passage to a precise historical moment. In this sense, considering hip-hop as a subculture in the following pages, I reflect (a) on the origin of rap music, its interrelation with the Afro-American culture and the concept of blackness which it conveys. ![]() In this paper, I expose how it is possible to investigate the hip-hop culture on three levels of analysis-historical, semiotic, and phenomenological-precisely as theorized by Cohen (1997) for his study on modern subcultures.
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