In recent studies on cultural aspects of languages, subcultures have been given more and more
importance. On the metaphorical potential of such groups, Kövecses noted that
Subcultures develop their own metaphors, and these metaphors may define the group. There is of
course no subculture that defines itself through an entirely new set of metaphors, but some of the
metaphors members use may be new relative to the mainstream (Kövecses 2009: 286f).
And this might be especially true for the subculture of Hip Hop with its most important
manifestation being rap music. Despite the fact that the genre is in existence since the Seventies,
linguistic studies in this field are still rare, and investigations into the metaphorical inventory of rap
music literally not existent. A first and important step into that direction has been undertaken by
Scott Crossley, whose study shows the linguistic potential of rap music as well as its variety of
metaphors:
As a product of a historically oral culture that embodies familiar metaphorical traits [...], African
American rap music is especially rich in metaphoric language. Its roots, along with other African
American linguistic traditions (including signifying, the dozens, and narrativizing), give rap music its
exceptional linguistic variety (Crossley 2005: 503).
The present term paper will continue Crossley's research on metaphorical conceptions in rap music
by illustrating further conceptual metaphors, but it also likes to develop it into a new direction by
including German rap music as well. The relationship between American and German rap music is
especially interesting because it is coined by a linguistic impact that is by far not as strong on a
more general level. Certain aspects of this impact have already been laid down in earlier papers1,
and it will be most rewarding to explore its cognitive dimensions as well.
In the analysis three metaphorical concepts will be examined. They are illustrated with the
help of similar conceptions from everyday language and from an exemplary rap music corpus that is
more clearly defined in the next chapter. The methodical points of the analysis are laid down in this
chapter as well. And since the metaphorical conceptions in rap music “are generally specific to the
subculture that either adopts them from the dominant culture or creates them to address their own
cultural needs” (Crossley 2005: 501), variations on an intra cultural level will be noted as well.
Table of Contents
1. Introduction
2. A few Words on Method and Corpus
2.1. Method
2.2. Nature of the Corpus
3. Rap Music as Battle
4. Hip Hop as a Person
5. Rap Artist as Craftsman
6. Conclusion
6.1. Intracultural Variation
6.2. Intersubcultural Variation
6.3. Individual Variation
Objectives and Research Themes
This paper examines metaphorical conceptions within rap music, specifically comparing American and German rap traditions. It aims to determine if shared subcultural metaphors exist and to what extent inter-subcultural differences—influenced by linguistic, social, and personal history—shape these metaphors.
- Analysis of conceptual metaphors in rap music (e.g., Rap as Battle, Hip Hop as Person).
- Comparative approach between American and German rap corpora.
- Exploration of the "Rap Artist as Craftsman" metaphor.
- Examination of the impact of personal history and cultural background on metaphor formation.
- Investigating the influence of grammatical and cultural factors on subcultural identity.
Excerpt from the Book
3. Rap Music as Battle
The first metaphorical concept has already been outlined by Lakoff & Johnson. It is fairly present especially in political discourse but expressions like Your claims are indefensible. He attacked every weak point in my argument. I've never won an argument with him (Lakoff & Johnson 1980: 4) can also be found in everyday language. Most of these examples exist in German as well, compounds like “Redeschlacht” or “Wortgefecht” can be heard in the news or read in the paper nearly daily. The conception of this metaphor in rap music is based upon the same notion that Lakoff & Johnson mentioned, namely ARGUMENTS ARE WAR.
A good example to introduce this concept in rap music is the famous line “leave your nines at home and bring your skills to the battle” (Jeru the Damaja 1994) by New York rap legend Jeru the Damaja. His commandment not only encourages others to settle differences in a non-violent way but it also brings up the notion that MUSICAL SKILLS ARE WEAPONS, for “nines” is an abbreviation of 'nine millimeters', a caliber of hand guns, and in this line the musical skills are seen as a substitute to those weapons. This notion is shared by Torch who refers to his adolescence with the following lines: Stärkster auf dem Pausenhof, der Schnellste in Sport / dann wurde Torchmann groß und Meister im Kampf mit dem Wort (Torch 2000).
Summary of Chapters
1. Introduction: Outlines the importance of metaphorical studies in subcultures and presents the paper's goal of exploring conceptual metaphors in American and German rap.
2. A few Words on Method and Corpus: Describes the methodology based on Lakoff & Johnson’s cognitive approach and justifies the use of an exemplary, diverse corpus.
3. Rap Music as Battle: Analyzes the prevalent "ARGUMENTS ARE WAR" metaphor, illustrating how verbal skills replace physical violence in the hip hop community.
4. Hip Hop as a Person: Explores the personification of Hip Hop as an entity, comparing how artists relate to the evolution of the genre through allegorical descriptions.
5. Rap Artist as Craftsman: Examines the conceptualization of the rapper as a handcrafter, where the creation of music is viewed through the lens of physical manufacturing.
6. Conclusion: Synthesizes findings on intra- and inter-subcultural variations, highlighting how language, cultural background, and personal experience influence metaphor usage.
Keywords
Metaphor, Rap Music, Hip Hop, Cognitive Linguistics, Subculture, Conceptual Metaphor, Germany, United States, Intracultural Variation, Intersubcultural Variation, Personification, Craftsmanship, Battle, Linguistic Impact, Cultural Identity
Frequently Asked Questions
What is the central focus of this research paper?
The paper focuses on identifying and analyzing conceptual metaphors used within the subculture of hip hop music, specifically contrasting the American and German scenes.
What are the primary metaphorical themes identified in the study?
The study highlights three core themes: "Rap Music as Battle," "Hip Hop as a Person," and the "Rap Artist as Craftsman."
What is the main research question of this work?
The paper seeks to determine if there are consistent metaphorical conceptions across the rap subculture and whether there are significant differences between American and German rap music, and if so, why these differences occur.
Which scientific methodology is applied?
The analysis follows the cognitive linguistics framework established by Lakoff & Johnson, focusing on how source domains are mapped onto target domains in everyday and subcultural language.
What does the main body of the paper cover?
The body chapters detail each specific metaphor, providing examples from both German and English rap lyrics, supplemented by schematic illustrations of the mapping process.
Which terms best characterize this work?
The work is characterized by terms such as cognitive linguistics, metaphor theory, subcultural studies, and comparative musicology.
Why is the "Rap Artist as Craftsman" metaphor unique?
It is unique because it is heavily developed within the rap community as a way to describe the production process as manual labor, diverging from broader linguistic norms where such creative work might not be described with physical "smithing" metaphors.
How does cultural background affect the metaphor "Hip Hop as a Person"?
The study finds that cultural background, such as an artist's upbringing or their specific introduction to hip hop, changes the relationship—for instance, portraying Hip Hop as a male friend in German rap versus an old love in American rap.
- Arbeit zitieren
- Florian Arleth (Autor:in), 2011, Metaphorical Conceptions in Rapmusic, München, GRIN Verlag, https://www.hausarbeiten.de/document/190756
