Spectacular vernaculars : hip-hop and the politics of postmodernism (eBook, 1995) [WorldCat.org]
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Spectacular vernaculars : hip-hop and the politics of postmodernism

Author: Russell A Potter
Publisher: Albany : State University of New York Press, ©1995.
Series: SUNY series in postmodern culture.
Edition/Format:   eBook : Document : State or province government publication : EnglishView all editions and formats
Summary:
Spectacular Vernaculars examines hip-hop's cultural rebellion in terms of its specific implications for postmodern theory and practice, using the politics of reception as its primary rhetorical ground. Hip-hop culture in general, and rap music in particular, present model sites for such an inquiry, since they enact both postmodern modes of production--the appropriation of tropes, technologies, and material  Read more...
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Additional Physical Format: Print version:
Potter, Russell A., 1960-
Spectacular vernaculars.
Albany : State University of New York Press, ©1995
(DLC) 94024990
Material Type: Document, Government publication, State or province government publication, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Russell A Potter
OCLC Number: 1036949109
Description: 1 online resource (x, 197 pages).
Contents: Introduction --
Coming to Terms: Rap Music as Radical Postmodernism --
Ch. 1. Gettin' Present as an Art: A Signifyin(g) Hipstory of Hip-hop --
Ch. 2. Postmodernity and the Hip-hop Vernacular --
Ch. 3. The Pulse of the Rhyme Flow: Hip-hop Signifyin(g) and the Politics of Reception --
Ch. 4. History --
Spectacle --
Resistance --
Ch. 5. "Are You Afraid of the Mix of Black and White?" Hip-hop and the Spectacular Politics of Race.
Series Title: SUNY series in postmodern culture.
Responsibility: Russell A. Potter.
More information:

Abstract:

Spectacular Vernaculars examines hip-hop's cultural rebellion in terms of its specific implications for postmodern theory and practice, using the politics of reception as its primary rhetorical ground. Hip-hop culture in general, and rap music in particular, present model sites for such an inquiry, since they enact both postmodern modes of production--the appropriation of tropes, technologies, and material culture--and a potential means of resistance to the commodification of cultural forms under late capitalism. By paying specific attention to the historical and cultural context of hip-hop as a black artform and locating its practice of resistance in terms of a postmodernist reading of consumer culture, this book offers a complex reading of hip-hop as a postmodern practice, with implications both for theories of postmodernism and cultural studies as a whole [Publisher description].

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