Dissatisfaction and dissent in the transmodal performances of hip-hop artists in Mongolia
| dc.contributor.author | Dovchin, Sender | |
| dc.date.accessioned | 2018-12-13T09:08:46Z | |
| dc.date.available | 2018-12-13T09:08:46Z | |
| dc.date.created | 2018-12-12T02:46:58Z | |
| dc.date.issued | 2018 | |
| dc.identifier.citation | Dovchin, S. 2018. Dissatisfaction and dissent in the transmodal performances of hip-hop artists in Mongolia. In The Sociolinguistics of Hip-hop as Critical Conscience: Dissatisfaction and Dissent, 191-211. Switzerland: Springer Nature. | |
| dc.identifier.uri | http://hdl.handle.net/20.500.11937/71095 | |
| dc.identifier.doi | 10.1007/978-3-319-59244-2_8 | |
| dc.description.abstract |
© The Author(s) 2018. The sociolinguistic practices of hip-hop artists in Mongolia can be understood as "transmodal” due to the combination of varied linguistic resources with other multiple modes such as the traditional elements and nationalistic symbols. In so doing, Mongolian hip-hop artists utilize the vernacular of the genre as a means of expressing political dissatisfaction and dissent. They form patriotic identities by declaring their love and pride for their root and tradition. They are the harsh critics and the sarcastic satirists of social injustice and corruption of the political regime in Mongolia. | |
| dc.publisher | Springer Nature | |
| dc.title | Dissatisfaction and dissent in the transmodal performances of hip-hop artists in Mongolia | |
| dc.type | Book Chapter | |
| dcterms.source.startPage | 191 | |
| dcterms.source.endPage | 211 | |
| dcterms.source.title | The Sociolinguistics of Hip-hop as Critical Conscience: Dissatisfaction and Dissent | |
| dcterms.source.isbn | 9783319592442 | |
| dcterms.source.place | Switzerland | |
| dcterms.source.chapter | 10 | |
| curtin.department | School of Education | |
| curtin.accessStatus | Fulltext not available |
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