My master's thesis deals with street poetry, which has long been associated exclusively with music and is better known in public under the generic name rap. The thesis begins with the explanation of the term street poetry and its use in literary science proceeding from the term "rap" as an abbreviation standing for rhythmically accentuated poetry and from the meanings of each compound in a phrase "street poetry". Additionally, it explains the differences between street, streetwalkers' and urban poetry and introduces a novelty into the theory of street poetry, i.e. the division into the broader and restricted definition of the research theme. The research subject is then placed into a broad historical sociopolitical context in America, where this form of (protest) poetry originates, and in Slovenia, where the imported street poetry ultimately adapted to cultural-socio-political environment in 1990s. Since male authors are prevalent, street poetry is stereotypically in men's domain, although the role of women is not negligible. On the basis of gender dihotomy I continue with elaboration on differences and similarities between male and female street poets considering gender roles, feminism and masculism, language (secondary/stage/art names, conjugation, diminutives, opposites, vulgarisms), effects of the Internet on street poetry and the use of intertextuality within street poetry. Slovene street poetry is often compared to American and in some cases to Balkan street poetry, which objectivises and gives meaning to the results of analyses in a broader sense as well. Instead of a conclusion, I present a synthesis with the assessment of hypotheses defined in the introduction, classify the basic points of gender differentiation within Slovenian street poetry and convey a clear disposition of the differences and similarities between Slovenian male and female street poets.
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