Hipness, Hybridity, and 'Neo-Bohemian' Hip-Hop: Rethinking Existence in the African Diaspora
نام عام مواد
[Thesis]
نام نخستين پديدآور
Williams, Maxwell Lewis
نام ساير پديدآوران
Appert, Catherine
وضعیت نشر و پخش و غیره
نام ناشر، پخش کننده و غيره
Cornell University
تاریخ نشرو بخش و غیره
2020
يادداشت کلی
متن يادداشت
282 p.
یادداشتهای مربوط به پایان نامه ها
جزئيات پايان نامه و نوع درجه آن
Ph.D.
کسي که مدرک را اعطا کرده
Cornell University
امتياز متن
2020
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
This dissertation theorizes a contemporary hip-hop genre that I call "neo-bohemian," typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo-bohemian rappers imagine and live out liberating ways of being beyond the West's objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an "aesthetics of existence" in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora.
اصطلاحهای موضوعی کنترل نشده
اصطلاح موضوعی
African American studies
اصطلاح موضوعی
African studies
اصطلاح موضوعی
Music
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )