С. В. Кардинская / S.V. Kardinskaya


There are considered the characteristics of rap-poetry as a special direction in Contemporary Art.  As the example there is analyzed the album «Gorgorod» (Oxxxymiron). The research methodology basis on Badiou’s, Baudrillard’s and Lifshits’s concepts of Contemporary Art. Analysis of rap-texts reveals the specifics of rap-poetry as a mosaic «intertext» consisting of tag-references, each of which is a «point of attachment» for a variety of different semantic elements. The configuration of the rap-text is formed not only by using the sound «lining», which is defined by «beat», «sampling», «spinning in a loop», polyrhythmy, but also playing on a number of subcultural components, such as conversational speech style, statements using reduced stylistic tones reflecting the specific life realities of people included in hip-hop culture.

Analysis of rap poetry reveals the specifics of modern art, which has a tendency to consider previously formed cultural forms as unviable and outdated «trash». And, on the contrary, contemporary art draws its vital force from what was considered «waste» in the past, was beyond the limits of permissible and «cultural». As a result of working with «garbage» and linguistic «trash», the art of previously excluded is included in the cultural space. The differences of «high» / «low», «permissible» / «unacceptable», «art» / «non-art» are disappeared. Art loses volume and perspective; its ideologization becomes impossible. The text of the new art, in particular, the rap- text, consisting of adjoining tag-references, leaves a sphere of uncertainty at the very core of its existence, and its meaning is always out of focus and vague.

As a rule, researchers of Contemporary Art, for example, J. Baudrillard, MA Lifshits and others define it as «anti-art» or «end of art», revealing in it the limit of aesthetic form as such and not seeing in it any creative principle. Such a negative interpretation has played an important role in the history of aesthetic thought, denoting the limit on which redefining the meaning of aesthetic and new structuring of the cultural text is possible. The analysis of rap texts, in particular, the «Gorgorod» of Oksimiron, makes it possible to reveal the very structure of such a text as a certain «frame» of emptiness and the configuration of the gap. The rap-text consists of loosely joined mosaic language elements, and the social surface on which they are located is also involved in the compilation of an eclectic poetic ornament. Such a text is a letter on the already existing dense tissue of culture, simultaneously, and excluding, and including it in the field of interpretation.


aesthetics; aesthetic discourse; Contemporary Art; poetry; rap; hip-hop culture; «Gorgo-rod»; Oxxximiron; «end of art»; «anti-art»; mosaic; structure


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