UA Minor in Africana Studies with Concentration in Hip-Hop Cultures

For more information, visit the Africana Studies website.

Bibliography of Speakers

Alain Milon

  • Unknown cards. Critical approaches to space. Les Belles Lettres, Col. encre marine, 2013.
  • Artaud and the letter in body: around henchmen and suppliciaitions. University Press of PARIS WEST, 2013.
  • Blanchot: novels and stories. Ed. M. Antonioli and A. Milon, University Press of PARIS WEST, 2013.
  • The book to the body. Ed. A. Milon and Mr. Perelman, University Press of PARIS WEST, 2012.
  • Blanchot and philosophy. Ed. E. Hoppenot and A. Milon, University Press of PARIS WEST, 2010.
  • The crack of the cry: violence and writing. Les Belles Lettres, Col. encre marin, 2010.
  • The aesthetics of the book. Ed. A. Milon and Mr. Perelman, University Press of PARIS WEST, 2010.
  • Levinas Blanchot: think about the difference. Paris, UNESCO-Press co-publishing University Press of PARIS WEST, ed. E. Hoppenot and A. Milon, 2nd edition 2009.
  • Bacon, the appalling meat. Les Belles Lettres, Col. encre marin, 2008.
  • Dictionary of the body. PUF, 2007.
  • The book and its spaces. Ed. A. Milon and Mr. Perelman, University Press of PARIS WEST, 2007.
  • Writing itself: That distant interior. Encre marin, 2005.
  • Virtual reality. With or without the body, otherwise. 2005.
  • “Tags and Murals in France: A City’s Face or Natural Landscape?” from Black, Blanc, Beur. Rap Music and Hip-Hop Culture in the Francophone World. Scarecrow, 2002.
  • Outlines of light: Territories exploded. Rozelaar Green, Draeger, 2002.
  • Foreign in the city. Rap in wall graffit. Presses Universitaires de France, 1999.
  • The Art of conversation. PUF, col. "Critical perspectives", 1999.
  • The value of information: between debt and don. PUF., col. "Sociology of today", 1999.
  • “Tag, Graff, Rap: Autres forms de communication urbaine.” from Urbanisme, 1998.

Marcyliena Morgan

  • “Hip-Hop and the Global Imprint of a Black Cultural Form.” from Daedalus, 2011.
  • The real hip-hop: Battling for knowledge, power, and respect in the LA underground. Duke University Press, 2009.
  • “Preserving Hip-Hop Culture.” from Socialism and Democracy, 2004.
  • “’Ain’t Nothin’ but a G Thang’: Grammar, Variation and Language Ideology in Hip Hop Identity.” from Sociocultural and Historical Contexts of African-American English, 2001.

Halifu Osumare

  • The Hiplife in Ghana: Western African Indigenization of Hip-Hop. Palgrave Macmillan, forthcoming 2012.
  • “Wrapped in Illusion: The Hip-Hop Emcee as Trickster.” from Shifting Dynamics of Tricksterhood and the Crossroads in Africa and the African Diaspora. Indiana University Press, forthcoming 2012.
  • “Motherland Hip-Hop: African American Youth Culture in Senegal and Kenya.” from Rhythms of the Afro-Atlantic World: Rituals and Remembrances. University of Michigan Press, 2010.
  • “Rap and Hip-Hop.” from Oxford University Press, 2010.
  • “Jay-Z on his IPod: Barack Obama as a Hip-Hop Generation Pop Icon.” from Seeing Black.Com, 2009.
  • “The Dance Archaeology of Rennie Harris / Hip-Hop or Postmodern?” from Ballroom, Boogie, Shimmy, Sham, Shake: A Social and Popular Dance Reader. University of Illinois, 2009.
  • The Africanist Aesthetic in Global Hip-Hop: Power Moves. Palgrave Macmillan, 2008.
  • “Gazing the Hood: Hip-Hop as Tourism Attraction.” from Tourism Management, 2007.
  • “Global Hip Hop and the African Diaspora.” from Black Cultural Traffic: Crossroads in Global Performance and Popular Culture. University of Michigan Press, 2005.
  • “Phat Beats, Dope Rhymes, and Def Moves: Hip Hop’s African Aesthetics as Signifying Intertext.” from Marvels of the African World: Cultural Patrimony, New World Connections, and Identities. Africa World Press, 2003.
  • “Global Breakdancing and the Intercultural Body.” from Dance Research Journal, 2002.
  • “The Hip Hop Globe: Troping Blackness Off the Hook” from Columbia Journal of American Studies 5, 2002.
  • “Beat Streets in the Global Hood: Connective Marginalities of the Hip Hop Globe.” from The Journal of American Culture, 2001.

Susan Somers-Willett

  • “From Slam to Def Poetry Jam: Spoken Word Poetry and its Counterpublics.” from Poetry World, forthcoming 2013.
  • The Cultural Politics of Slam Poetry: Race, Identity, and the Performance of Popular Verse in America. U of Michigan Press, 2009.
  • “Can Slam Poetry Matter?” from Rattle #27, 2007.
  • “Def Poetry’s Public: Spoken Word Poetry and the Racial Politics of Going Mainstream.” from Iowa Journal of Cultural Studies, 2006.
  • “Slam Poetry and the Cultural Politics of Performing Identity.” from Journal of the Midwest Modern Language Association, 2005.
  • “Authenticating Voices: Slam Poetry, Politics, and Performances of Black Identity.” from Mantis Journal of Poetry and Poetics 3, 2003.
  • “Representing” Slam Poetry: Ambivalence, Gender, and Black Authenticity in Slam.” from Text, Practice, Performance Journal of Cultural Studies 3.1, 2002.

Seth Whidden

  • La Poésie jubilatoire: Rimbaud, Verlaine et l'Album zutique. Editor. Éditions Classiques Garnier, 2010.
  • Marie Krysinska: Innovations poétiques, combats littéraires. Co-editor. PUSE / PU de Lyon, 2010.
  • Models of Collaboration in Nineteenth-Century French Literature: Several Authors, One Pen. Editor. Ashgate, 2009.
  • “French Rap Music Going Global: IAM, They were, We are.” from The French Review 80.5, 2007.
  • Leaving Parnassus: The Lyric Subject in Verlaine and Rimbaud. Rodopi - Amsterdam, 2007
  • Arthur Rimbaud: Complete Works, Selected Letters. Foreword. Chicago, 2005.
  • “Marie Krysinska: A Bibliography.” from The Bulletin of Bibliography, 2001.
  • “Rimbaud Writing on the Body: Anti-Parnassian Movement and Aesthetics in 'Venus Anadyomene.'” from Nineteenth-Century French Studies, 1999.