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Deutsche und polnische Liedtexte im Rap als biographische Textsorte

100%
Niściór K.
Linguistische Treffen in Wrocław
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2022
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issue 21
361-378
EN
The rap lyrics often deal with the same subjects from different perspectives. The musicians choose the themes for their rap pieces with which they identify the most. These texts have been thoroughly accepted by linguists, but rap has not been viewed as a whole, but the researches rather have been concentrated on its individual manifestations. In the present article I analyze whether we can regard the German and Polish song lyrics in rap as an autobiographical text type and what information they can use to enrich the biographies of their authors. I will start with the history of rap, which provides information about the primary goal and the main functions of this genre. The research material was taken from 401 quotations from 23 German and 25 Polish songs and compared with available information about the authors. All quotations are assigned to the most frequently repeatable life categories and counted. In the light of the materials I have analyzed, it is clear that there is a diver- gence not only between individual authors, but also between the German and Polish perceptions of many aspects of life.
2
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Langage violent dans le rap français: caractéristique ou cliché ?

89%
Zubčeková H.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. Special Issue: Le monde de la litérrature
293-303
EN
The paper treats the role of the vocabulary connected to violence in the French rap. We will verify the hypothesis that this kind of vocabulary (vulgarisms and words semantically associated with violence) in our corpus is predominantly accentuated in the lyrics by the means of homophonies. This hypothesis is based on the premise that words with some kind of homophony are naturally emphasized in the flow of the rapper (Barret 2008). We are going to use the corpus of 97 songs by three interprets — Diam’s, MC Solaar and Rohff. We will use three marks : first mark concerns the vulgarisms, the second words semantically associated with violence and the third all the homophonies in the corpus. If the hypothesis is confirmed, the conclusion, that violent aspects are objectively highlighted and therefore more prominent in French rap, follows.
3
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To trzeba czuć w żyłach… [rec. Tomasz Kukołowicz: Raperzy kontra filomaci. Warszawa: Wydawnictwo Narodowe Centrum Kultury, 2014, s. 442.]

89%
Chylińska I.
Śląskie Studia Polonistyczne
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2017
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vol. 10
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issue 2
283-289
EN
The article is a critical discussion of Tomasz Kukołowicz’s book Raperzy kontra filomaci, which is an important voice in the discussion on rap. The publication was devoted to the connections between the creative imagination of contemporary Polish rappers and the artistic activity of Vilnius philomaths. The author in her review focuses mainly on the part devoted to the subculture, the elaboration of which raises the greatest doubts. 
4
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Przysłowia w polskim flowklorze

87%
Szpila G.
Polonica
|
2020
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vol. 40
EN
The article discusses the use of proverbs in Polish hip-hop lyrics. The paper talks about the presence of paremias in Polish rap songs, analyzes their formal transformations (enumerating syntactic and lexical changes in the shape of proverbs), as well as examines the exploitation of proverbial semantics with a view of presenting individual and more general values of the Polish hip-hop community.
PL
W artykule przedstawiono analizę przysłów w wybranych tekstach polskiego hip-hopu. Artykuł omawia miejsce paremii w tekstach rapu, rezentuje przekształcenia formalne (gramatyczno-leksykalne) i semantyczne proverbiów oraz bada  znaczenia wykorzystywanych przysłów w kreowaniu ideologicznego obrazu polskiego hip-hopu.
5
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Caparezza e la lingua del rap italiano. Annarita Miglietta: Sulla lingua del rap italiano. Analisi quali-quantitativa dei testi di Caparezza. Firenze 2019, 126 p.

87%
Ajres A.
Fabrica Litterarum Polono-Italica
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2022
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issue 4
1-8
EN
Miglietta’s work insists on qualities of texts by Italian rapper, Caparezza. Because of the use he does with the language, it is pretty hard to find for him and for his songs a unique definition. The conceptual premise of the work in question is that the rapper from Molfetta represents something other than what we have heard up in Italy to this moment, and that we can compare him and his rhymes to poetry lines. The vocabulary is what probably most distinguishes Caparezza from the surrounding environment. An important part of his lexicon is joined to literature and the literary samples represent another indication of the specificity of Caparezza's work compared to most Italian rappers. The rapper from Molfetta makes use of literary quotations in abundance and in a meaningful way, without relegating himself to a fashion quotation. He quotes for example in his texts Quasimodo, Leopardi, Manzoni, Dante Alighieri and some of his songs are directly inspired by writers (i.e. Dickens, Canzone a metà). In Italy he belongs to a kind of rap that we can call “intellectual”, or PhD rap, which has some similiarities with Polish intelingentny rap.
PL
Książka Annarity Miglietty (Sulla lingua del rap italiano. Analisi quali-quantitativa dei testi di Caparezza. Firenze 2019) kładzie nacisk na artystyczne walory tekstów włoskiego rapera Caparezzy. Ze względu na to, jak muzyk używa języka, trudno jest znaleźć dla niego i jego piosenek jakąś unikalną, ogólną definicję. Konceptualnym założeniem omawianej monografii pozostaje fakt, że ukazuje ona dokonania rapera z Molfetty jako novum – praktykę odmienną od wszystkiego, co do tej pory słyszeliśmy we Włoszech. Miglietta przekonuje, że możemy artystę i jego „rymy” porównać do technik obecnych w wielu wierszach lirycznych. Słownictwo jest bez wątpienia tym, co najbardziej odróżnia Caparezzę od innych twórców gatunku. Ważna część jego dokonań odsyła do kulturowej tradycji, a „literacki” charakter dzieł stanowi kolejny przejaw specyfiki twórczej Caparezzy, różniący go od wielu innych włoskich raperów. Muzyk z Molfetty często i w znaczący sposób wykorzystuje literackie cytaty, nie sprowadza ich jednak do „modnego gestu”. Cytuje w swoich tekstach fragmenty dzieł m.in. Quasimodo, Leopardiego, Manzoniego, Dantego Alighieri, a niektóre z jego piosenek są szeroko i bezpośrednio inspirowane dokonaniami wielkich pisarzy (np. Dickensa).
IT
Il lavoro di Miglietta insiste sulla qualità dei testi del rapper italiano Caparezza. A causa dell'uso che egli fa del linguaggio, è piuttosto difficile trovare per lui e per le sue canzoni una definizione univoca. La premessa concettuale dell'opera in questione è che il rapper di Molfetta rappresenti qualcosa di diverso da quello che abbiamo sentito in Italia fino a questo momento, e che possiamo paragonare lui e le sue rime a versi di poesia. Il vocabolario è ciò che probabilmente distingue maggiormente Caparezza dall'ambiente circostante. Una parte importante del suo lessico è legata alla letteratura e i samples letterari rappresentano un'ulteriore indicazione della specificità dell'opera di Caparezza rispetto alla maggior parte dei rapper italiani. Il rapper di Molfetta fa uso di citazioni letterarie in abbondanza e in modo significativo, senza relegarsi a un citazionismo alla moda. Cita ad esempio nei suoi testi Quasimodo, Leopardi, Manzoni, Dante Alighieri e alcune sue canzoni sono direttamente ispirate agli scrittori (es. Dickens, "Canzone a metà"). In Italia appartiene a un tipo di rap che possiamo chiamare “intellettuale”, o PhD rap, che ha alcune somiglianze con il rap "inteligentny" polacco.
6
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Inscenizacje intermedialności w filmie "Tlen" Iwana Wyrypajewa

63%
Skowronek B., Paździo J.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2013
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issue 5
128-135
EN
Intermediality of the cinema has been discussed many times, and what is especially indicated is a specific “imprint” that was left on film by the theatre. Similarities between a movie and a performance are described well by the mise-en-scene category (placing on the stage). By replacing the analogue picture with the digital one, the mise-en-page category becomes more familiar to today’s mechanisms of creating film. Intermediality of modern film should be seen as a peculiar realization of common points of arts and media. In Ivan Vyrypaev’s Oxygen, functioning of these intermedialities is based on mutual circulations of different means of expression, both theatrical and cinematographical. Vyrypaev based his film’s construction on a convention of recording a CD, consistently using poetics of a postmodern videoclip.
7
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Wizerunek rapera Adama Ostrowskiego na platformie YouTube

54%
Podleś P.
Łódzkie Studia Teologiczne
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2022
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vol. 31
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issue 3
29-55
EN
The aim of the work is to present research on the media image of rapper Adam Ostrowski, also known as (O.S.T.R.) on the YouTube platform. The analysis covers, inter alia, his recordings, interviews, concerts coverage. On their basis, it has been proven that the YouTube platform is a key tool in communication with fans and creating a media image. This website has become a source of modern culture, as evidenced by the situation that arose as a result of the COVID-19 pandemic.
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