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Water has provided hip hop with a variety of central metaphors by which the genre has enriched its poetic terminology of the flow, denoted spiritual purity, or discussed political and police corruption. Over the last two decades, water-related environmental concerns and catastrophes have prompted hip hop artists to develop a more literal approach. This article showcases how selected songs of black conscious and indigenous rap—Yasiin Bey's "New World Water" (1999), Common's "Trouble in the Water" (2014), Taboo's "Stand Up / Stand N Rock" (2016), and Supaman's "Miracle" (2018)—develop hydrocentric perspectives in order to participate in the negotiation of the cultural and material meanings of water. These songs discuss the relationship between the human and water by working with images of water as "modern water" (Linton), "global water," or "Anthropocene water" (Neimanis), which allows them to address the nexus of racial capitalism, settler colonialism, anthropocentrism, and ecological crises. True to conscious rap's agenda of socio-political criticism, they not only unravel but also indict anthropocentric, racial capitalist, and settler-colonial ideologies and practices as they pertain to water. They further negotiate alternative cosmological approaches that conceive of the human/nonhuman relationship as interconnected and thus unfold "hydrosocial" perspectives (Linton). All the while, they advertise rap music as an important aesthetic tool of political-environmentalist intervention. This becomes particularly evident from the fact that all of them are connected by a specific activist impetus and framing. ; El agua ha proporcionado al hip hop una variedad de metáforas centrales gracias a las cuales ha enriquecido su terminología poética del flow, ha destacado su pureza espiritual, o ha debatido la corrupción política y policial. En las últimas dos décadas, las preocupaciones y las catástrofes medioambientales relacionadas con el agua han motivado a los artistas del hip hop a desarrollar un enfoque más literal. ...

Water has provided hip hop with a variety of central metaphors by which the genre has enriched its poetic terminology of the flow, denoted spiritual purity, or discussed political and police corruption. Over the last two decades, water-related environmental concerns and catastrophes have prompted hip hop artists to develop a more literal approach. This article showcases how selected songs of black conscious and indigenous rap—Yasiin Bey's "New World Water" (1999), Common's "Trouble in the Water" (2014), Taboo's "Stand Up / Stand N Rock" (2016), and Supaman's "Miracle" (2018)—develop hydrocentric perspectives in order to participate in the negotiation of the cultural and material meanings of water. These songs discuss the relationship between the human and water by working with images of water as "modern water" (Linton), "global water," or "Anthropocene water" (Neimanis), which allows them to address the nexus of racial capitalism, settler colonialism, anthropocentrism, and ecological crises. True to conscious rap's agenda of socio-political criticism, they not only unravel but also indict anthropocentric, racial capitalist, and settler-colonial ideologies and practices as they pertain to water. They further negotiate alternative cosmological approaches that conceive of the human/nonhuman relationship as interconnected and thus unfold "hydrosocial" perspectives (Linton). All the while, they advertise rap music as an important aesthetic tool of political-environmentalist intervention. This becomes particularly evident from the fact that all of them are connected by a specific activist impetus and framing. ; El agua ha proporcionado al hip hop una variedad de metáforas centrales gracias a las cuales ha enriquecido su terminología poética del flow, ha destacado su pureza espiritual, o ha debatido la corrupción política y policial. En las últimas dos décadas, las preocupaciones y las catástrofes medioambientales relacionadas con el agua han motivado a los artistas del hip hop a desarrollar un enfoque más literal. ...

There is a view, which I have used as the premise for this paper, that historical thinking is evident within the narratives of societies as historically existing entities. These narrations can be gathered empirically and analyzed for underlying structures. A more common research approach, however, is to assume a priori that these structures exist and then to look at value judgments from which they can be inferred. In this way, various quantitative studies have been carried out that polled the opinions of European, and in particular German and Turkish, youths and young adults. These have shown that amongst Germans there is ostensibly a strong desire for change, from which one can infer an underlying narrative pattern of history as progress. Indirect questioning hints at a lacking link with tradition among young Germans and even more so in some other Western European cultures, mainly those with a distinctly Protestant imprint. In this paper I will establish a link between first, these opinion polls, second, the results of psephology since the 1950s and third, additional supporting historical evidence in order to argue that there is a structural difference between the narratives of German Protestants and Catholics, with Catholics showing a stronger tendency towards tradition.

Anyone wishing to look beyond the paradigm of Western progress needs to understand how it came into being. In the intellectual culture of the 17th and 18th centuries, the competitive comparison of Ancients and Moderns and their respective relations to civilization and barbarism constituted one of the formative discourses. Yet alternative ideas of time and historicity are encountered not only in cultural contexts outside of Europe but also in the largely forgotten professional knowledge of the Old World: Thomism, Peripatetism, moderate forms of criticism, political theory, and legal practice. This book introduces a broad panorama of such intellectual cultures in Central Europe. It situates theological, historical, and philosophical scholarship in its institutional and epistemological environments: the Church, the Holy Roman Empire, and the emerging Habsburg Monarchy. In doing so, it identifies struggles over competing pasts - Christian, ethnic, legal - as the core of those domains' intellectual development.