Hip Hop and the Public Sphere: Political Commitment and Communicative Practices on the Norwegian Hip Hop Scene

2014 ◽  
Vol 21 (1) ◽  
pp. 37-52 ◽  
Author(s):  
Torgeir Uberg Nærland
Keyword(s):  
Public Sphere ◽  
Hip Hop ◽  
Political Commitment ◽  
Communicative Practices ◽  
The Public ◽  
The Public Sphere

The Seeds of a Black Movement?

2017 ◽  
Author(s):  
Danielle Pilar Clealand
Keyword(s):  
Public Sphere ◽  
Hip Hop ◽  
Racial Consciousness ◽  
Black Consciousness ◽  
The Public ◽  
The Public Sphere ◽  
Racial Dialogue ◽  
Black Movement ◽  
Black Public Opinion

The last chapter of the book, chapter 9, takes a look at formal or above-ground expressions of racial consciousness in Cuba and the development of a space, albeit a small one, for racial dialogue on the island. The chapter looks at organizations that were created after the political opening in the 1990s to address issues of discrimination, and how their focus and influence affect the debate that is beginning to circulate around race. It also highlights how the hip-hop movement, one of the most important and far-reaching messengers of black consciousness in Cuba, uses music to insert a new racial rhetoric into the public sphere that has not been heard prior to this period. Finally, the chapter joins the under- and above-ground components of black consciousness to show that black public opinion regarding organization and activism often aligns with what elites and writing about in the public sphere.

scholarly journals Media discourse and the public sphere

2005 ◽  
Vol 21 (spe) ◽  
pp. 45-71
Author(s):  
Lilie Chouliaraki
Keyword(s):  
Public Sphere ◽  
Prime Time ◽  
Media Discourse ◽  
Democratic Deliberation ◽  
Communicative Practices ◽  
The Public ◽  
The Right To Privacy ◽  
The Public Sphere ◽  
The Right ◽  
Empirical Material

In this paper, I am attempting to throw into relief significant aspects of the function of television debate as a public sphere. My working assumption is that public dialogue, including its televised versions, involves primarily the establishment of a meaning horizon which delimits what is to be said and known, and which authorises as true certain meanings and knowledges at the expense of others. Put differently, there is a 'politics of truth' at play in every mediated debate which is central in the constitution of the debate as a public sphere. It is precisely this politics that I want to examine in this article. Using empirical material from a prime-time debate programme in Danish television, which is concerned with the right to privacy of public personalities, I analyse the forms of interactional control and dialogic organisation employed in the debate, so as to address the following questions: What are the communicative practices which confer upon the television debate genre the legitimacy of public debate? Which are the principles by which communication is regulated? Which are the domains of meaning construed by this regulation? And which is the potential for democratic deliberation released in these domains?

Gendering Voice

2018 ◽  
pp. 133-159
Author(s):  
Catherine M. Appert
Keyword(s):  
Public Sphere ◽  
Hip Hop ◽  
Female Sexuality ◽  
Traditional Music ◽  
Women's Movements ◽  
The Public ◽  
Female Self ◽  
Urban Men ◽  
The Public Sphere ◽  
Youth Music

Through a discussion of Gotal, a women’s collective, this chapter shows how gendered analysis problematizes constructions of hip hop as a youth music. While young urban men experience a newfound mobility that allows the construction of widespread hip hop networks, familial and social concerns over female sexuality limit young women’s movements through public (hip hop) space. In focusing on expression in the public sphere, and in rejecting traditional music as easy and feminine, hip hop constructions of voice underestimate and effectively silence indigenous modes of female self-expression. Female rappers still seek to mobilize hip hop voice, however, and counter these narratives through discourses of family and work. Flipping the script on hip hop tropes of the underground, they position their own marginalization as a badge of hip hop authenticity.

The Suffering of the Perpetrators: The Ethics of Traumatic German Historicity in Karen Bass's Young Adult World War II Novels

2014 ◽  
Vol 7 (1) ◽  
pp. 64-77
Author(s):  
Doris Wolf
Keyword(s):  
World War Ii ◽  
Young Adult ◽  
Public Sphere ◽  
Childhood Studies ◽  
Historical Narratives ◽  
World War ◽  
The Public ◽  
The Past ◽  
Adult World ◽  
The Public Sphere

This paper examines two young adult novels, Run Like Jäger (2008) and Summer of Fire (2009), by Canadian writer Karen Bass, which centre on the experiences of so-called ordinary German teenagers in World War II. Although guilt and perpetration are themes addressed in these books, their focus is primarily on the ways in which Germans suffered at the hands of the Allied forces. These books thus participate in the increasingly widespread but still controversial subject of the suffering of the perpetrators. Bringing work in childhood studies to bear on contemporary representations of German wartime suffering in the public sphere, I explore how Bass's novels, through the liminal figure of the adolescent, participate in a culture of self-victimisation that downplays guilt rather than more ethically contextualises suffering within guilt. These historical narratives are framed by contemporary narratives which centre on troubled teen protagonists who need the stories of the past for their own individualisation in the present. In their evacuation of crucial historical contexts, both Run Like Jäger and Summer of Fire support optimistic and gendered narratives of individualism that ultimately refuse complicated understandings of adolescent agency in the past or present.

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