The Sociolinguistics of Hip-hop as Critical Conscience: Dissatisfaction and Dissent

by Andrew S. Ross (Editor), Damian J. Rivers (Editor)

Overview

This book adopts a sociolinguistic perspective to trace the origins and enduring significance of hip-hop as a global tool of resistance to oppression. The contributors, who represent a range of international perspectives, analyse how hip-hop is employed to express dissatisfaction and dissent relating to such issues as immigration, racism, stereotypes and post-colonialism. Utilising a range of methodological approaches, they shed light on diverse hip-hop cultures and practices around the world, highlighting issues of relevance in the different countries from which their research originates. Together, the authors expand on current global understandings of hip-hop, language and culture, and underline its immense power as a form of popular culture through which the disenfranchised and oppressed can gain and maintain a voice. This thought-provoking edited collection is a must-read for scholars and students of linguistics, race studies and political activism, and for anyone with an interest in hip-hop.

Product Details

ISBN-13:	9783319592435
Publisher:	Springer International Publishing
Publication date:	12/20/2017
Edition description:	1st ed. 2018
Pages:	271
Product dimensions:	5.83(w) x 8.27(h) x (d)

About the Author

Andrew S. Ross is a lecturer at Southern Cross University, Queensland, Australia. He has published in the area of emotions and motivation in language learning, and language and new media.


Damian J. Rivers is an associate professor at Future University Hakodate, Hokkaidō, Japan. He has co-edited several books, including Resistance to the Known: Counter-Conduct in Language Education (2015, Palgrave Macmillan).

Table of Contents

Chapter 1: The Linguistic and Lyrical Development of 2Pac in Relation to Regional Hip-Hop Identity and Conflict.- Chapter 2: Dimensions of Dissatisfaction and Dissent in Contemporary German Rap: Social Marginalization, Politics, and Identity Formation.- Chapter 3: “77% of Aussies are Racist” – Intersections of Politics and Hip-Hop in Australia.- Chapter 4: Where is the Love? White Nationalist Discourse on Hip Hop.- Chapter 5: "Who's afraid of the Dark?": The Ironic Self-Stereotype of the Ethnic Other in Finnish Rap Music.- Chapter 6: How the Financial Crisis Changed Hip Hop.- Chapter 7: Dissatisfaction and Dissent in the Transmodal Performances of Hip Hop Artists in Mongolia.- Chapter 8: Counter-Hegemonic Linguistic Ideologies and Practices in Brazilian Indigenous Rap.- Chapter 9: The Death of Dissent and the Decline of Dissin': A Diachronic Study of Race, Gender, and Genre in Mainstream American Rap.

What People are Saying About This

From the Publisher

“It is always a pleasure to read not just poetry, but "strong poetry" where the unknown is made known and visible, where language sails into oceans of pleasure and solidarity, where disciplines meet to create a nation of hope in a time of hopelessness, and where Hip-Hop rubs shoulders with language, resistance, and dissent. The Sociolinguistics of Hip-Hop as Critical Conscience: Dissatisfaction and Dissent could not have been more urgent and more needed than in the present moment. WORD!“ (Professor Awad Ibrahim , University of Ottawa, Canada)

 “Exploring how dissatisfaction and dissent are exemplified in various forms of data, the volume shows how hip hop continues to be a politically and socially relevant form of expression around the world and a tool for contemporary youth to express their dissatisfaction with current political and social regimes.” (Associate Professor Cecelia A. Cutler

, City University of New York, USA)

“By focusing on the lyrical content of rap produced across the globe, the volume offers intriguing insights on many critical issues of interest to a broad range of readers, including migration, racism and postcolonialism. Authors use a variety of qualitative and quantitative approaches to show how dissatisfaction and dissent are constructed in rap in ways that cross national borders, languages and semiotic modes, thereby pushing forward the methodological apparatus of Hip Hop studies.” (Dr. Emilee Moore, University of Leeds, UK)