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In a field like hip-hop, where written and verbal communication are the two primary forms of work production, the mind or intellect of the artist should be viewed as the very thing responsible for success. However, unlike other writing-intense fields, the mind of hip-hop artists is often the least valued and least lauded trait. Hip-hop artists, whether they realize it or not, have more to offer. They are more than the things that they possess. They are writers. They are thinkers. This article examines intellectualism in hip-hop music—its presence, shortcomings, and ultimate value.

In this study, a semiotic reading and the comparison of the films Pi and Beautiful Mind is made from various aspects. The study makes use of semiotics and attempts to analyze and match mutually, the verbal signifiers and their signifieds, contained in the films. Some common attributes of these two films and the contemporary character of the sign (signification) types, determines the field of interest of the study. The fact that the "human mind" takes place as a major theme in both works, paves the way for the selection of the research material. The findings accessed through the research, shed light on the interpretation of the social, scientific and cultural events of the so-called informtion age -those can be qualified as a revolution- in the last decades.

Abstract The marriage of evolution and development to produce the new discipline 'evo‐devo' in biology is situated in the general history of evolutionary biology, and its significance for developmental cognitive science is discussed. The discovery and description of the highly conserved, robust and 'evolvable' mechanisms that organize the vertebrate body plan and fundamental physiology have direct implications for what we should investigate in the evolution of behavior and cognition.

This article examines the experiences of two national apex institutions in (...) Senegal and Tanzania, which channel funds to retail microfinance institutions (MFIs). These two national apexes are the Dyna-Enterprises Project and the Small Entrepreneurs Loan Facility (SELF) project, which are functioning in Senegal and Tanzania respectively. Both Dyna and SELF initially started as small-scale apex MFIs and had been conceived with the same vision in mind - facilitation of access to financial services for the poor. The initial implementation focused on provision of credit through MFIs as well as capacity building. The targeted groups of clients are similar, i.e. the disadvantaged, and mostly are women groups in urban or peri-urban areas carrying out general petty trade activities. Like many apex institutions in sub-Saharan Africa, both SELF and Dyna have stimulated demand for more financial support to the poor and have shown potential to be transformed into viable commercial MFIs. (...). (Dev South Afr/DÜI)

The citation above, of a participant in our study who describes his first image of graffiti that comes to mind, summarizes our argument: public opinions on disorder (graffiti, in this case) may vary considerably, not only between people but people themselves make different judgments, depending on what they see in which context. Indeed, studies prove that 'graffiti has been called everything from urban blight to artistic expression' (Gomez 1993: 634). Lombard (2012) calls graffiti 'art crimes' because it is criminal and artistic at the same time, which makes it also difficult to distinguish 'artists' from 'criminals'. Even graffiti writers recognize that graffiti, while for them in the first place art, in some contexts is damaging or inappropriate (Rowe and Hutton 2012). According to Brighenti, graffiti is an 'interstitial practice': a practice about which different actors hold different conceptions, depending on Eur J Crim Policy Res (2016) 22:107–125 DOI 10.1007/s10610-015-9288-4