Hip Hop Battles and Facial Intertexts

2016 ◽  
Vol 34 (1) ◽  
pp. 63-83 ◽  
Author(s):  
Sherril Dodds
Keyword(s):  
Popular Culture ◽  
Facial Expression ◽  
Hip Hop ◽  
Body Parts ◽  
Scholarly Work ◽  
Diverse Range ◽  
Face To Face ◽  
The Face

Hip hop dance battles are organized around a face-to-face danced exchange and, although dancers mobilize a diverse range of facial expression, scarcely any scholarly work addresses the face as a choreographic device. Several scholars, however, have noted that hip hip battles are dialogic or conversational in style, and I assert that dancers strategically employ facial expression to challenge and comment upon their opponents. In this article, I draw on the theory of intertextuality, and in particular Henry Louis Gates's concept of signifyin(g), to show how dancers deploy facial choreography as a mode of embodied articulation. Based on an ethnography of hip hop battles in Philadelphia, I examine the choreography of facial expression in four particular ways: as a strategy to signal generic particularity; to make commentary on the actions of other body parts; to create dialogic exchange between other faces at the battle event; and to reference facial intertexts from the broader popular culture.

scholarly journals Et Tu Ru? Entrepreneurship and the Commodification of Drag in RuPaul’s Drag Race

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Jonathan Buck
Keyword(s):  
Popular Culture ◽  
Reality Tv ◽  
Diverse Range ◽  
Drag Queen ◽  
The Face ◽  
Value Changes ◽  
Historical Moment ◽  
Tv Show ◽  
International Success ◽  
Selection Of

Historically, drag is a taboo which has been marginalized in the face of centuries of repression against non-heteronormative activity. Yet today drag has become highly visible in popular culture, and this is in large part attributable to the international success of American reality TV show RuPaul’s Drag Race (2009-present). Its bold representation of drag on a mainstream television show is unprecedented and the selection of drag queen competitors by the show’s producers has demonstrated a plethora of representations as Drag Race showcases a diverse range of identifications from the world of drag performance. The blossoming of Drag Race’s success comes at a historical moment in which we are seeing a huge proliferation of queer representations (re)produced in US television and other media over the last decade. However, as I will argue, the apparent liberalization of drag queens in popular culture is not simply a celebration of so-called ‘progress’ in the recognition of the marginalized, but may also be prompting the promotion of other value changes within late capitalism’s ideals of consumerism and entrepreneurship. Contestants are increasingly pressured to construct their drag performances to conform to a recognizable brand to reach the heights of their own private ‘success’. Mainstreamed depictions of queer subjects are susceptible to co-option, particularly in televisual forms such as Drag Race which prospers by channelling the emancipatory and subversive desires of the subculture. Through trans-textual considerations and historical contextualizations, I show how the representation of drag in Drag Race is depoliticized through neoliberal discourse as the show’s continual demand for competitors to ‘work it’ privileges and maintains the impetus for competitive profitmaking above the needs and demands of disempowered groups.

scholarly journals A Case of Special Complication following a Large Amount of Polyacrylamide Hydrogel Injected into the Epicranial Aponeurosis: Leukocytopenia

2015 ◽  
Vol 2015 ◽  
pp. 1-4 ◽  
Author(s):  
Li Rong ◽  
Shi-Jie Lan ◽  
Ying Shao ◽  
Zhe Chen ◽  
Duo Zhang
Keyword(s):  
Soft Tissue ◽  
Facial Expression ◽  
Ambient Temperature ◽  
Female Patient ◽  
Blood Supply ◽  
Soft Tissue Augmentation ◽  
Body Parts ◽  
Polyacrylamide Hydrogel ◽  
The Face ◽  
Injectable Filler

Polyacrylamide hydrogel (PAAG) has been used as an injectable filler for soft tissue augmentation of different body parts, such as the face, breasts, and penis. However, this is the first report of leukocytopenia after injection of a large amount of PAAG in the epicranial aponeurosis. After receiving PAAG injection for craniofacial contouring, the female patient described herein experienced recurrent swelling, temporal pain (particularly with changes in ambient temperature and facial expression), and ultimately leukocytopenia due to widespread migration of the injected PAAG. We removed most of the PAAG from the affected tissues and the leukocytopenia disappeared 1 year after the operation. Based on this case, we hypothesize that injection of a large amount of PAAG into tissues that have ample blood supply, such as the epicranial aponeurosis, may induce leukocytopenia.

The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease

2014 ◽  
Vol 46 (2) ◽  
pp. 39-56 ◽  
Author(s):  
Sherril Dodds
Keyword(s):  
Facial Expression ◽  
Hip Hop ◽  
Gilles Deleuze ◽  
Symbolic Meaning ◽  
Abstract Machine ◽  
Political Critique ◽  
The Face ◽  
Dialogic Space ◽  
Do So

Although the face possesses potent social and symbolic meaning, the “dancing face” is rarely addressed in dance scholarship. In spite of its neglect, the face participates choreographically in the realization of aesthetic codes and embodied conventions that pertain to different dance styles and genres. I therefore turn to Gilles Deleuze and Felix Guattari's (1987) theory of “faciality” to understand the semiotic coding of the face in relation to the Busby Berkeley chorus girl. Although their work offers an important critique of universalist theorizations of facial expression, I argue that “facial choreography” offers scope to dismantle the legibility of the face that is produced through the overcoded “abstract machine of faciality.” To do so, I introduce the concept of a “choreographic interface” to explore how facial expression enters into a choreographic relationship with other faces and bodily territories. With this in mind, I explore two dancing bodies that engage the face in ways that complicate existing modalities of facial expression. I analyze a hip-hop battle and a neo-burlesque striptease number to show how the mobility and ambiguity of facial choreography opens a dialogic space through which meaning is generated and social and political critique take place.

Supporting the Use of Rudimentary Vocalizations

2014 ◽  
Vol 23 (3) ◽  
pp. 132-139 ◽  
Author(s):  
Lauren Zubow ◽  
Richard Hurtig
Keyword(s):  
Rett Syndrome ◽  
Visual Cues ◽  
Acoustic Analysis ◽  
Eye Gaze ◽  
Research Question ◽  
Primary Research ◽  
Multiple Modalities ◽  
Face To Face ◽  
Perceptual Judgments ◽  
The Face

Children with Rett Syndrome (RS) are reported to use multiple modalities to communicate although their intentionality is often questioned (Bartolotta, Zipp, Simpkins, & Glazewski, 2011; Hetzroni & Rubin, 2006; Sigafoos et al., 2000; Sigafoos, Woodyatt, Tuckeer, Roberts-Pennell, & Pittendreigh, 2000). This paper will present results of a study analyzing the unconventional vocalizations of a child with RS. The primary research question addresses the ability of familiar and unfamiliar listeners to interpret unconventional vocalizations as “yes” or “no” responses. This paper will also address the acoustic analysis and perceptual judgments of these vocalizations. Pre-recorded isolated vocalizations of “yes” and “no” were presented to 5 listeners (mother, father, 1 unfamiliar, and 2 familiar clinicians) and the listeners were asked to rate the vocalizations as either “yes” or “no.” The ratings were compared to the original identification made by the child's mother during the face-to-face interaction from which the samples were drawn. Findings of this study suggest, in this case, the child's vocalizations were intentional and could be interpreted by familiar and unfamiliar listeners as either “yes” or “no” without contextual or visual cues. The results suggest that communication partners should be trained to attend to eye-gaze and vocalizations to ensure the child's intended choice is accurately understood.

SEXUAL EUPHEMISM EXPRESSED IN POP AND HIP HOP LYRIC SONGS: A PRAGMATIC STUDY

2019 ◽  
Vol 3 (2) ◽  
pp. 109-122
Author(s):  
Cita Mustika Kusumah
Keyword(s):  
Sexual Activity ◽  
Hip Hop ◽  
Qualitative Method ◽  
Speech Act ◽  
Research Data ◽  
Body Parts ◽  
Taboo Words ◽  
Directive Speech ◽  
Descriptive Method ◽  
Sexual Body

This research aims to describe and give an overview of the use of sexual euphemism in pop and hip hop lyric songs to avoid taboo words which are usually unfreely to mention in public. The researcher uses qualitative method and descriptive method to analyze the data. The researcher uses forty songs consist of twenty pop songs and twenty hip hop songs to be analysed. From forty songs, the researcher finds ninety seven data. Researcher believes the data are found to contain sexual euphemism in the utterance that included in pragmatic study.Researcher describes and analyzes every single of data that are included the theory of Allan and Buridge (1991). From the research data, the researcher found that there is a differential usage of sexual euphemism in pop and hip hop which is sexual euphemism in sexual activity appears more frequently in pop songs and sexual euphemism in sexual body parts appears more frequently in hip hop songs. Both pop and hip hop songs use representative speech act more frequently than directive speech act. Euphemism was used in the lyrics to avoid words that are considered taboo in some communities.Keywords: speech act, sexual euphemismINTRODUCTIONIn

Antecedent Factors to Recommendation Intention on the Face-to-Face Job Consulting

2013 ◽  
Vol 14 (3) ◽  
pp. 115-133
Author(s):  
조현 ◽  
Jaeshin Park ◽  
ki-jin jang
Keyword(s):  
Face To Face ◽  
The Face ◽  
Recommendation Intention

Student Perceptions of Face-to-Face and Online Discussions: The Advantage Goes To . . .

2008 ◽  
Vol 11 (4) ◽  
Author(s):  
Katrina A. Meyer
Keyword(s):  
Higher Education ◽  
Affirmative Action ◽  
Student Perceptions ◽  
Online Discussions ◽  
Political Tolerance ◽  
Self Assessment ◽  
Face To Face ◽  
The Face ◽  
Online Setting ◽  
And Gender

Thirteen students in a graduate-level course on Historical and Policy Perspectives in Higher Education held face-to-face and online discussions on five controversial topics: Diversity, Academic Freedom, Political Tolerance, Affirmative Action, and Gender. Students read materials on each topic and generated questions for discussion that were categorized by Bloom’s taxonomy so that the level of questions in the two discussion settings would be closely parallel. Upon completion of each discussion, they answered questions that addressed depth and length of the discussion, ability to remember, and a self-assessment of how the student learned. Students’ assessments show a consistent preference for the face-to-face discussion but a small number of students preferred the online setting. However, what is perhaps more interesting is a minority of approximately one-third of the students who perceived no difference between the settings, or that the two settings were perhaps complementary.

The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽  
2018 ◽  
Vol 10 ◽  
Author(s):  
Petru Adrian Danciu
Keyword(s):  
Mutual Recognition ◽  
The Other ◽  
Human Being ◽  
Material World ◽  
Face To Face ◽  
The People ◽  
Musical History ◽  
The Face ◽  
The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

Agents of Practice at the Public Library’s Reference Desk

2013 ◽  
Author(s):  
Mary Cavanagh
Keyword(s):  
Public Libraries ◽  
Face To Face ◽  
Professional Boundaries ◽  
The Public ◽  
Reference Librarians ◽  
Practice Perspective ◽  
The Face ◽  
Reference Et

The face to face interactions of reference librarians and reference assistants are studied from a theoretical practice perspective. Rather than reinforcing professional boundaries, the results of this analysis support reference practice in public libraries as a highly relational activity where reference “expertise” retains a significant subjectivist, relational dimension.Les interventions en personne des bibliothèques de référence et des adjoints à la référence sont étudiées du point de vue de la pratique théorique. Plutôt que de renforcer les frontières interprofessionnelles, les résultats de cette analyse appuient l'idée que les pratiques de référence en milieu public sont des activités hautement relationnelles où l'expertise de la référence conserve une dimension subjectiviste et relationnelle. 

Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”

2018 ◽  
Vol 9 (2) ◽  
pp. 31-38
Author(s):  
Fransisca Adis ◽  
Yohanes Merci Widiastomo
Keyword(s):  
Facial Expression ◽  
Basic Characteristic ◽  
Early Stage ◽  
3D Animation ◽  
Coding System ◽  
Facial Action Coding System ◽  
Facial Action ◽  
Animated Film ◽  
Character Design ◽  
The Face

Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference. Keywords: animation, facial expression, non-dialog

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