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1
Buendía, Pedro. "Urban art, public space, and political subversion: The Egyptian revolution through graffiti Arte urbano, espacio público y subversión política la revolución egipcia a través del graffiti Art urbain, espace public et subversion politique : La révolution égyptienne à travers du graffiti." Regions and Cohesion 2, no. 3 (December 1, 2012): 84–117. http://dx.doi.org/10.3167/reco.2012.020306.
Повний текст джерелаАнотація:
The emergence of graffiti's urban subculture as a means of political expression has become a singular issue of the so-called Arab Spring. Graffiti and urban art, which had little to no relevance in the Arab world until now, emerged with unusual force in many countries, notably in the Palestinian territories, Lebanon, and Egypt. This blossoming takes shape in tangent with the strengthening of a civil society and its rise as a decisive actor in the new political arena. In Egypt's case, graffiti achieved a leading role that reflected the milestones of civil disturbance, marking the walls with virtual snapshots of the popular sentiment. The proliferation of graffiti also had considerable resonance in international media because of the strategy of spreading rebellious and subversive slogans by means of the symbolic occupation of a public space, which, until now, was monopolized by authoritarian powers.Spanish Un fenómeno singular de la denominada “Primavera Árabe“ ha sido la eclosión de la subcultura urbana del graffiti como medio de expresión política. De escasa o nula relevancia hasta ahora, el arte urbano de las pintadas ha surgido con una fuerza inusitada en varias zonas del mundo árabe, notoriamente en los Territorios Palestinos, el Líbano y Egipto. Dicho florecimiento cuaja en paralelo con la rearticulación de la sociedad civil y su irrupción irreversible como actor de los nuevos escenarios políticos. En el caso de Egipto, los graffitis han tenido un señalado protagonismo como reflejo de los sucesivos hitos de las revueltas, marcando los muros y paredes con verdaderas instantáneas del sentir popular. La proliferación del graffiti ha tenido asimismo una considerable resonancia en los medios internacionales, debido a la estrategia de ocupar simbólicamente el espacio público, -que hasta ahora estaba reservado al monopolio de los poderes autoritarios- para la difusión de consignas contestatarias y subversivas.French Un phénomène singulier de la “printemps arabe“ a été l'émergence de la culture urbaine du graffiti comme un moyen d'expression politique. Avec peu ou pas d'importance jusqu'à ce jour, l'art urbain et le graffiti ont émergé avec une force inhabituelle dans diverses régions du monde arabe, notamment dans les Territoires Palestiniens, le Liban et l'Égypte. Ce e éclosion doit être mise en parallèle avec le renforcement de la société civile et son émergence comme acteur décisif dans le nouveau scénario politique. Dans le cas de l'Égypte, le graffiti a joué un rôle clé comme reflet des jalons successifs des révoltes, en marquant les murs avec des instantanés virtuelles du sentiment populaire. La prolifération des graffitis a rencontré aussi un écho remarquable dans les médias internationaux en raison de la stratégie d'occupation symbolique de l'espace public pour la diffusion des slogans rebelles et subversifs; un espace public qui était réservé jusqu'à aujourd'hui aux pouvoirs autoritaires.
2
Souillard, Sasha. "La Rivoluzione Macchiata: The Stained Revolution." Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 91. http://dx.doi.org/10.33682/nv4g-se2u.
Повний текст джерелаАнотація:
Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word "graffiato" or "scratched "off", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest. Conversations surrounding fascism, racism, women's rights, immigration and the LGTBQ community have arisen within graffiti, allowing outsiders to better understand Italians' takes on these issues. This study investigates Italy's sociopolitical climate through graffiti as a form of art, and also sheds light on how graffiti provokes its audience. The graffiti found in Florence, Bologna, and Naples proves to be linguistically complex, and provokes observers both through heightened language and visuals. This study suggests that the majority of Italian sociopolitical graffiti belongs to students who are unable to take part in democracy based on their age or legal status. While often deemed a vandalistic act, graffiti has allowed Italian individuals to protest what is unjust, and make themselves heard in a society where their voices are being suffocated by right-wing political parties and their media.
3
Wakeland, Robin Gay. "21st Century Graffiti Dialog." World Journal of Social Science Research 10, no. 2 (April 23, 2023): p23. http://dx.doi.org/10.22158/wjssr.v10n2p23.
Повний текст джерелаАнотація:
Case studies with photos from 2012-2016 police and court reports tracked Dallas, Texas metropolitan area transit graffiti incidents. Comprised of primarily strings of Roman alphabet letters resulting in incoherency, graffiti engaged with and resulted in various law enforcement responses. These art forms were compared with global graffiti interpretations ranging from anti-language to multiculturalism. Graffiti writers set up dialog with society.
4
Yendra, Yendra, Ketut Artawa, I. Nyoman Suparwa, and Made Sri Satyawati. "Symbolic Functions of Graffiti in Padang City of Indonesia: Critical Linguistic Landscape Studies." JURNAL ARBITRER 7, no. 1 (April 26, 2020): 100. http://dx.doi.org/10.25077/ar.7.1.100-108.2020.
Повний текст джерелаАнотація:
This study concerned with language in written form that is visible as graffiti in the Padang city, Indonesia landscape. The mushroomed of graffiti in Padang city landscapes increasingly has been a growing problem in society. Even local government as the official authority has created some task to prohibit graffiti, but a new graffiti has always been emerging in public space. Therefore graffiti has been considered a crime. It is interesting to explore graffiti in Padang city landscapes from other perspectives, particularly the symbolic functions of graffiti. The study uses qualitative approaches by applying Critical Discourse Analysis. The result shows that graffiti in Padang city landscapes accomplished two principal symbolic functions; first graffiti as a medium of demonstration in which providing space for marginalized expression with the opportunity to voice controversial ideas publically; second graffiti as social critics in which providing input into the public discourse that is not concerned by other conventional media.
5
Melbārde, Aija, Auguste Petre, and Zane Grigoroviča. "VISUAL INSIGHTS INTO GRAFFITI AND STREET ART IN RIGA. PHOTOGRAPHS." Culture Crossroads 13 (November 9, 2022): 9–18. http://dx.doi.org/10.55877/cc.vol13.110.
Повний текст джерелаАнотація:
Graffiti and street art are continuously topical for the cultural space of Latvia. Graffiti and street art are created, exist and vanish in a short period of time, questioning borders of art, its social function, as well as legality. Till now, an unexplored field of study in Latvia has been the necessity and possibilities for the conservation and restoration of graffiti and street art. Photographs taken by Aija Melbārde and Auguste Petre serve as an example of documenting and exposing signs of our time. They also raise questions for reflection – What is the significance of graffiti and street art within the scene of contemporary art? What are the functions of graffiti and street art in society, as social art? What are the aspects of legality of graffiti and street art? What are the issues for conservation and restoration of graffiti and street art? These photographs invite and challenge the audience interested in cultural and artistic expressions and general public to question the valuation and preservation of contemporary cultural heritage. Through exposing graffiti and street art as a significant segment of urban environment, this selection of photographs invites to consider the use of graffiti and street art for diverse purposes – for publicity and attracting tourism, or as a means of communication in urban culture, among other. The present selection of photographs is based on the exhibition that took place at the “Culture Crossroads 2017” scholarly conference in Riga and complemented the transdisciplinary section “Graffiti: challenges for artists, society, and conservators”. For locating visual testimonies of graffiti and street art in Riga, the Street Art Map of Riga is presented as addendum to the present volume.
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YERZNKYAN, Yelena, and Grisha GASPARYAN. "ENGLISH TEXTUAL GRAFFITI IN THE CONTEXT OF LANGUAGE FUNCTIONS." Foreign Languages in Higher Education 24, no. 2 (29) (December 7, 2021): 13–25. http://dx.doi.org/10.46991/flhe/2020.24.2.013.
Повний текст джерелаАнотація:
The present paper is an attempt to view English textual graffiti in the light of the theory of language functions suggested by R. Jacobson. Graffiti is a unique medium of communication between different members of a society. The message graffiti text conveys is expressed with the use of a number of linguistic units that collectively realize one of the functions of language. The aim of the paper is to reveal how each function is performed in graffiti texts and what kind of semantic and pragmatic properties their constituent parts may possess.
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Safonov, Ivan E., Ekaterina V. Shapiro, Ekaterina M. Lukina, and Sofia A. Shchepkina. "Graffiti for the City or the City for Graffiti? Legitimacy of Graffiti in the Historical Center of Saint-Petersburg." Galactica Media: Journal of Media Studies 4, no. 3 (October 3, 2022): 100–122. http://dx.doi.org/10.46539/gmd.v4i3.315.
Повний текст джерелаАнотація:
In contemporary society there are two contradictory points of view concerning graffiti: it is vandalism; it is art. In the cities graffiti is treated ambiguously: negatively, quietly or with interest and approval. The reasons for this may be both in citizens’ tastes and in the characteristics of the graffiti itself. Why do citizens consider some graffiti acceptable and some not? This work deals with the research of the legitimacy of the graffiti in the historical center of Saint-Petersburg. The purpose of the research is to reveal the foundations of the legitimacy of illegal graffiti in the historical center.
The empirical basis consists of half-structured interviews analyzed with the thematic coding. The results show that a positive or negative reaction on the illegal graffiti appears during the discussion on the representational qualities, surface and content of the graffiti. The legitimate graffiti in the historical center of Saint-Petersburg has a connection with the history of the city and famous people, and it is also considered as a creative asset that transforms dilapidated surfaces. The results of the research may be used for the resolution of the conflicts between the citizens, graffiti creators and government officials providing the basis for a dialog on the common usage of the urban space. This work is also intended for the researchers of urban space, cultural city landscape and in sociology of art.
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Umdu, Duygu Cinar. "Street Graffiti and Residents’ Attitude: Izmir City." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 130–38. http://dx.doi.org/10.18844/prosoc.v4i11.2867.
Повний текст джерелаАнотація:
Humanity has always been in a struggle to express itself to others. They conveyed through marks and symbols on cave walls, head stones, clay tablets and papyrus before the invention of writing and society. Today urban areas and especially streets are places that carry social marks first-hand. They retain these semiotic signs and become a collective of symbols that link the past to the present and future. Graffiti, which is a part of such communication, is the way people express emotions and ideas to society through symbols. In this study, the attitude of the residents in Izmir City about graffiti, whether they see it as an art form or visual pollution, is studied. A survey was applied to 100 citizens, including fieldwork, photo-shoots and interviews done with 20 people. Part of the graffiti in Izmir urban identity is determined and the results are presented. Keywords: Graffiti, resident’s attitude, Izmir.
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Hess, Djamila, and Deddy Mulyana. "Beyond Art: Graffiti as a Medium of Counterpublics." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 3 (September 30, 2022): 1–19. http://dx.doi.org/10.17576/jkmjc-2022-3803-01.
Повний текст джерелаАнотація:
The use of a variety of art forms to support citizens’ dissent and protest is a long-standing tradition in Indonesia. This work aims at investigating the role of artistic, low-technology modes of communication in the form of graffiti for the mediation of interests of counter publics. Therefore, we focus on graffiti and its utilization within the ARAP (People’s aliance against eviction) movement in Tamansari, Bandung (Indonesia). Based on Grounded Theory and with the help of interviews with artists and activists as well as observations, and a content analysis of the artworks, different ways graffiti can contribute to the representation of interests of counterpublics are investigated. Our results show that graffiti is not simply a substitute for missing mass media coverage as often indicated. The special quality of graffiti allows not only for the utilization as a means for opposing marginalization tendencies in media and society, but it also bears its own media-specific characteristics that other (communication) media cannot provide: Through its emotional approach and its media-specific characteristics, communicating via graffiti allows for addressing and sensitizing (new) audiences. Additionally, graffiti supports the aims of the movement such as communicating information, framing events, mobilizing, and motivating activists and residents, as well as contesting space. In this regard, the ARAP movement reappropriates the public space for the people they aim to represent through the creative practice of graffiti. Keywords: Counterpublic, graffiti, protest movement, street art, social movement.
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Al-Khawaldeh, Nisreen Naji, Imad Khawaldeh, Baker Bani-Khair, and Amal Al-Khawaldeh. "AN EXPLORATION OF GRAFFITI ON UNIVERSITY’S WALLS: A CORPUS-BASED DISCOURSE ANALYSIS STUDY." Indonesian Journal of Applied Linguistics 7, no. 1 (May 31, 2017): 29. http://dx.doi.org/10.17509/ijal.v7i1.6856.
Повний текст джерелаАнотація:
Graffiti have received a great attention from scholars as they have been considered a vital cultural phenomenon for many years (Trahan, 2011; Divsalar & Nemati, 2012; Zakareviciute, 2014; Farnia, 2014; El-Nashar & Nayef; 2016). Although there are extensive contemporary researches on graffiti in many disciplines, such as linguistics, cultural studies, politics, art, and communication (Pietrosanti, 2010; Farnia, 2014; Oganda, 2015), there are few studies exploring graffiti on classrooms’ walls in higher education milieus (Farnia, 2014). To the best knowledge of the researchers, very few studies were done on the Jordanian context (e.g. Al-Haj Eid, 2008; Abu-Jaber, et al., 2012) and none was done on the Jordanian universities. Therefore, this study aims at analysing the content and communicative features of writings found on universities’ classrooms’ walls, corridors, and washrooms and their relation to the socio-cultural values of the society in order to explore how universities help students voice their attitudes and thoughts. The linguistic features that characterise these writings were also examined. Graffiti-writings, which were collected from the University of Jordan and the Hashemite University, were coded and analysed using the thematic content analysis technique (Braun & Clarke, 2006) and Critical Discourse Analysis (Fairclough, 1995). The analysis of the data has shown that graffiti serve different communicative language functions related to personal, social, national, religious, political, and taboo matters. The most salient linguistic features of these graffiti are simplicity and variation. It can be concluded that graffiti are distinctive and silent ways of communication, particularly in students’ society. The study will be of great importance to linguists, sociologists, educators, administrators, teachers and parents. It is enrichment to the available literature on linguistic studies.
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Patrois, Julie. "RÍO BEC GRAFFITI: A PRIVATE FORM OF ART." Ancient Mesoamerica 24, no. 2 (2013): 433–47. http://dx.doi.org/10.1017/s0956536113000278.
Повний текст джерелаАнотація:
AbstractThis article focuses on graffiti recorded in the micro-region of Río Bec (a 10 × 10 km zone around Group B), an art form well-known but little studied to date. Incised in plastered supports (wall, benches, or doorjambs), graffiti is found on residences of all ranks. A meticulous recording method has enabled us to distinguish two classes: graffiti produced during a building's occupation and those executed post-abandonment. The former were probably made by the residence dwellers themselves, children and adults. Their productions, which can be considered authentic artistic creations, reflected their unequal technical capacities, talents, ages, and inspirations. The subject matter was personal; remarkable individuals or animals, or outstanding collective events as memorialized by individuals. These graffiti emerge as the principal form of individual expression (retrieved by the archaeologist) from Río Bec society. Once the buildings were abandoned and full of rubble, new graffitists (occasional visitors or squatters) decorated the still accessible portions of plastered walls and notably illustrated some specific topics, such as female imagery and fabulous entities perhaps drawn during specific ceremonies. In the region as a whole, where glyphic inscriptions are scarce, graffiti provide a privileged emic source for the understanding of Río Bec society.
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Mangila, Benjamin Baguio. "WHEN WALLS BECOME SILENT BATTLEGROUNDS: DECIPHERING COLLEGE STUDENTS’ GRAFFITI WRITINGS ON SCHOOL CAMPUS WALLS." International Journal of Asia Pacific Studies 19, no. 1 (January 18, 2023): 51–70. http://dx.doi.org/10.21315/ijaps2023.19.1.3.
Повний текст джерелаАнотація:
Although graffiti has become a significant cultural and linguistic phenomenon and has been studied throughout history, there is still room for the exploration of how graffiti in different contexts, particularly in a higher education institution, serves to voice the anonymous student writers’ thoughts and feelings. Thus, this study examines the common themes and the lexical and syntactic features of college students’ graffiti writings on the walls of a state college in Zamboanga del Sur, Mindanao, Philippines. Employing thematic analysis, this study reveals that students’ graffiti writings contain a variety of themes such as love, discrimination, self and group identities, hatred, sex, faith and religion, management, education, and fanaticism, with love and discrimination as the most prevailing social themes. Students’ graffiti writings also exemplify distinct lexical features such as loan and swear words, taboo words/expressions, abbreviations, ironies, acronyms, repetitions, and compound words. Borrowings and using offensive or swear words are the most common lexical features found among these graffiti writings. In addition, students often use brief or terse statements to clearly express their thoughts and feelings to the public. Indeed, graffiti writings are a distinctive and silent way of communication, particularly for students who are in the marginalised section of any society.
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Polo Romero, Alberto, and Diana Morales Manzanares. "Historical graffiti and mass culture. A vision from the Public Archaeology." AP: Online Journal in Public Archaeology 8, no. 1 (April 5, 2019): 95. http://dx.doi.org/10.23914/ap.v8i1.223.
Повний текст джерелаАнотація:
The paper we present here contains prehistoric and historical graffiti representation forms in cinema and series aimed at the general audience. Making an analysis of these graffiti as one of the testimonies of emotions, daily life, society worries and its contexts, we consider very relevant its representation in cinema stages throughout history.This text represents a first analysis of typologies, forms, appearance contexts and also graffiti making procedure. Considering all these aspects, we have carried out a comparative analysis between their appearance in these films and the scientific historical graffiti studies from branches as History and Archaeology during the last decades.Accordingly, is our main objective to get deeper into the subject of the past image developed to mass culture within the Public archaeology theoretical framework.
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KECECI, Eser, Gokce KECECI, and Izlem KANLI. "Redefining the Boundaries: Studies on the LGBTI-Themed Graffiti in the Streets of Nicosia." Revista de Cercetare si Interventie Sociala 64 (March 6, 2019): 300–322. http://dx.doi.org/10.33788/rcis.64.23.
Повний текст джерелаАнотація:
Since prehistoric eras, people have expressed their emotions and ideas on the walls. With the invention of writing and fast development of technology, murals also have evolved and gained new dimensions. Graffiti, which is a type of mural, has its place among street arts with its oldest historical background. It is scribbled, scratched or painted on the city walls; hence, they become a protest communication tool with implicit messages. This study discusses the graffiti in the streets of Nicosia regarding the protection of fundamental universal rights and freedoms of lesbian, gay, bisexual, transsexual and intersexual (LGBTI) individuals and communities that conduct activities towards the raising awareness about such matters. The LGBTI-themed graffiti, which are analyzed in the current research, have been collected from the North Nicosia streets during the last five years. The semiotic analysis of all the LGBTI-themed graffiti indicates that these graffiti provide the marginalized communities and individuals with a tool to express their suppressed feelings, to protest the negative reaction toward them, and also to redefine their presence in the society and occupy the urban area. This study offers the first analysis and investigation into the LGBTI-themed graffiti in the North Nicosia.
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Rudenkin, D., and A. Obolenskaya. "Determinants of Opinion About Graffiti of Russian Youth: Results of Secondary Analysis of VCIOM Data." Bulletin of Science and Practice 5, no. 11 (November 15, 2019): 333–42. http://dx.doi.org/10.33619/2414-2948/48/42.
Повний текст джерелаАнотація:
The central question of the article is the factors that influence the opinion about graffiti of Russian youth. The authors note the one-sidedness of the analysis of the social role of graffiti in Russian science. Scientists often focus on aesthetic, legal and socio-psychological sides of this topic. But at the same time, there is a lack of research in the area of typical stereotypes and assessments about graffiti in society. During their research, the authors of this article want to make a step in overcoming of this problem and focus their interest on stereotypes and assessments about graffiti that became typical for the representatives of modern Russian youth. During the research the authors rely on secondary analysis of data of sociological survey, which was implemented by Russian Public Opinion Research Center (VCIOM) at the end of 2018. Using the VCIOM data, the authors strive to determine the general opinion of Russian youth about graffiti and try to identify the factors, which can influence this opinion. The analysis allows the authors to make a conclusion that the specifics of young people’s stereotypes and assessments about graffiti has a social origin. The attitude to graffiti prevailing among Russian youth is comparable to that which was established among representatives of other age groups. But at the same time, young people are heterogeneous in their attitude to this phenomenon. The authors conclude that significant factors influencing the attitude of young people to graffiti are gender, the level of activity of using the Internet, and the type of settlement.
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Trentin, Mia Gaia, Doron Altaratz, Moshe Caine, Amit Re’em, Andrea Tinazzo, and Svetlana Gasanova. "Historic Graffiti as a Visual Medium for the Sustainable Development of the Underground Built Heritage." Sustainability 15, no. 15 (July 28, 2023): 11697. http://dx.doi.org/10.3390/su151511697.
Повний текст джерелаАнотація:
Since prehistoric times, graffiti has been a way for humans to express themselves and interact with the landscape in a visual way. Graffiti is a visual record of the relationship between society, culture, and the environment over time, representing an additional layer of sociocultural value to the underground built heritage (UBH). Thanks to the application of digital technologies and a specific workflow, this paper will suggest how graffiti can be regarded as an additional and relevant element of creating connections and strengthening the site’s values, bridging the past and present communities. Through the critical discussion of two case studies—the monastery of Ayia Napa (Cyprus) and the Saint Helena chapel in the Holy Sepulchre in Jerusalem—the authors want to achieve two main goals: first, they want to highlight the sociocultural value and raise awareness about the presence and significance of historic graffiti. In the second instance, they wish to illustrate how graffiti can be an additional agent for the sustainable development, valorization, and promotion of the UBH.
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Saldābola, Sintija. "ISSUES CONCERNING THE PRESERVATION OF GRAFFITI. DEVELOPING CONSERVATION PRACTICES WORLDWIDE." Culture Crossroads 13 (November 9, 2022): 95–103. http://dx.doi.org/10.55877/cc.vol13.118.
Повний текст джерелаАнотація:
This conference paper is dedicated to rising issues concerning the preservation of graffiti. The author outlines practical and ethical aspects conservators are dealing with while preserving an industrial canvas. How to treat artworks that are tangible and intangible at once? Graffiti is not just a drawing we see on the murals. It is a form of social movement, an artistic expression of opinion. We can draw similarities with contemporary art, where an idea might be an essence of the artwork and artists do not always think about the longevity of their creations. Artists might use materials and techniques that make conservator’s work practically impossible. That is why conservation in its traditional interpretation is an unsuitable solution for graffiti. Various ethical and practical questions have to be answered before conservator and society decide to preserve the art of graffiti.
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Ivanova, Oksana, Larisa Bilalova, and Ksenia Knyazeva. "The cultural eclecticism of globalism: perspectives from Russia." SHS Web of Conferences 55 (2018): 05005. http://dx.doi.org/10.1051/shsconf/20185505005.
Повний текст джерелаАнотація:
The paper deals with the reflection of the processes of globalization and multiculturalism in the guise of modern cities. According to the authors of the article, graffiti is a purely urban phenomenon. Modern graffiti is a palette of emotions, feelings, expressive existence, peculiar to the young people, and the modern city is the focus of mad speeds. In this focus of speed collides the seething thirst for life of the youth and the phenomenon of alienation. The dialectic of this contradiction determines the emergence and development of graffiti as a form of self-expression shaped as street art, or as it is sometimes called, the underground art. Graffiti as a component of street culture expresses the trends of globalization and its subjects, methods, and formats of performance: they are universal and do not have national peculiarities. In this case, the subject line of graffiti is a reflection of the specific features of culture, ideology, history, and traditions, that is, the mentality of a particular society. The authors of the paper present the lack of a single methodological, artistic and ideological orientation as cultural eclecticism. The article represents graffiti as a deviation, however, not as illegal acts but as an orientation of an individual to creative activity, as an act of self-actualization. In the study of graffiti as a socio-cultural phenomenon, parallels are drawn with the art of graffiti in various countries of the world, considering it as a form of multicultural integration. In modern interpretation, graffiti should be viewed as a kind of art, since it is artistic and aesthetic personal reflection of the personality, and creative form of its expression. Graffiti as an extra-national and meta-social phenomenon is simultaneously a manifestation of universalism of the global socio-cultural tendencies, and an expression of eclecticism of the new forms of the modern city. The main cultural values are outside of time. Traditional values, modified and mutated, are updated in accordance with trends.
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Bibi, Taiyyiba, Anam Shahid, and Humaira Yaqub. "The Critical Visual Analysis of Graffiti on Public Transportation in Punjabi, Pakistani Culture." Global Sociological Review VII, no. II (June 30, 2022): 70–80. http://dx.doi.org/10.31703/gsr.2022(vii-ii).08.
Повний текст джерелаАнотація:
Graffiti is a very strong way of expressing, resisting, promoting, criticizing, and catharsis. As a tool of expression, this can be used to raise socio-economic issues existing around us. This study reveals the importance of graffiti as a tool for expressing the significant issues of our society, specifically those in Pakistani Punjab. This paper collected a total of 16 images, further divided into two parts; the first part contains all images to reveal the very nature of graffiti as a tool to protest, criticise, and complain against social inequalities and social issues. On the other hand, the second sphere of collected images contains those images which are an expressive form of promoting gender stereotypes, racism, class conflict, and so on. Hence one can see how beautifully graffiti is working on both types as a tool of resistance and also as a medium of promotion.
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Cruikshank, Stephen. "CONCRETE IMPRESSIONS: A POETIC VISION OF CUBAN GRAFFITI." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 11. http://dx.doi.org/10.21992/t9t32h.
Повний текст джерелаАнотація:
For those familiar with the sight of Cuban streets, particularly that of Havana, the photos represented in this series of short poems will not be of surprise seeming as different forms of graffiti seen in words, phrases from famous revolutionaries, or quotations from Cuban patriarchs are a common sight and form of political and ideological expression in Cuban culture. Graffiti in this sense sparks not a feeling of societal rebellion in Cuba, but rather takes a very different place in urban Cuban culture promoting often revolutionary ideologies of the past through historical figures and words plastered along concrete walls and structures. Concrete walls, often the urban back drop of such graffiti, takes the form of a common motif throughout these five poems. Concrete represents a structure of durability and consistency that appeals to the message of graffiti throughout the island. Within such a metaphorical statement erupts a scandal of image versus reality in Cuban society, a society which arguably sees revolutionary ideology at work on walls perhaps at times more than within Cuba's growing modern culture that eagerly seeks ways to break through the old concrete ridden streets. That is to say, one is left to question whether the image on the concrete is as "concrete" as it appears.
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GASPARYAN, Grisha. "MAPPING THE MODEL OF COMMUNICATION THROUGH GRAFFITI." Foreign Languages in Higher Education 25, no. 1(30) (April 14, 2021): 15–30. http://dx.doi.org/10.46991/flhe/2021.25.1.015.
Повний текст джерелаАнотація:
The paper views graffiti as a form of mass communication and tries to outline and analyse the characteristic features of each of the elements of the communicative model graffiti develops. The paper reviews the basic models of communication proposed by theorists and attempts to figure out the integrative model of communication that is shaped when the members of a society decide to voice their ideas, personal issues or socio-political viewpoints through this unique medium.
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Neto, Elsa, Ana Souto, Aires Camões, Arlindo Begonha, and Paulo Cachim. "Effects of Anti-Graffiti Protection on Concrete Durability." Key Engineering Materials 634 (December 2014): 517–26. http://dx.doi.org/10.4028/www.scientific.net/kem.634.517.
Повний текст джерелаАнотація:
The heritage of fair-faced concrete, largely built in the twentieth century and nowadays recognized as heritage to be protected, is susceptible to attacks by graffiti, a form of vandalism that causes a major social and economic impact on society. Concrete is a porous material sometimes deteriorated over the years, and the interactions between the inks and the substrate and removal methods sometimes deteriorate or alter the concrete surface, especially if it is necessary to repeat the removal process. The anti-graffiti products are applied on the surface of the concrete, hindering the adhesion of paints or preventing its penetration into the pores of concrete, which in turn facilitates their removal. However, it appears that many of the existing protective products on the market may also alter the surface characteristics of the concrete irreversibly. Considering that the durability of concrete depends on the composition and characteristics of the surface, it is essential to know the effects of anti-graffiti protection systems on the durability of concrete and adopt the appropriate methodology to preserve this heritage. Thus, an experimental program was developed for analyzing changes in durability indicators and surface properties that protect concrete from deterioration (i) concrete without protection before and after application of spray paint, (ii) concrete with protection before and after application of spray paint and (iii) after paint removal were studied. Two anti-graffiti products were evaluated: a permanent and a sacrificial one. Effects of the anti-graffiti systems on the concrete durability are investigated and the tests performed include: water absorption by capillary and immersion at atmospheric pressure. The results of the water absorption tests show that the graffiti protection reduces the water absorption into the concrete and facilitates the removal of the graffiti without affecting negatively the characteristics of the surface and thus contributing to improve its durability.
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Bonhomme, Julien. "Dieu par décret: Les écritures d'un prophète africain." Annales. Histoire, Sciences Sociales 64, no. 4 (August 2009): 887–920. http://dx.doi.org/10.1017/s0395264900022502.
Повний текст джерелаАнотація:
RésuméCet article s’intéresse à d’étranges graffitis qui couvrent les murs de Libreville (Gabon). Leur scripteur, André Ondo Mba, est un personnage excentrique, prophete autoproclamé qui prétend accomplir la création divine à travers ses écritures publiques. Ses graffitis manifestent, sous une forme excessive, une idéologie de l’écriture dont l’origine est à chercher dans la situation coloniale, notamment dans les deux pivots du pouvoir colonial que sont la mission et l’administration. Situés au croisement du document officiel et des Écritures saintes, les graffitis d’Ondo Mba possedent en outre une forte charge contestataire : ils défient les autorités en place. Toute la question est alors de savoir si Ondo Mba parvient à faire entendre son message. L’article s’intéresse ainsi à la réception des graffitis. Aussi extravagante soit-elle, la mythologie personnelle d’Ondo Mba fait appel a un imaginaire, notamment politico-religieux, qui trouve en réalité de nombreux échos dans la société gabonaise contemporaine.
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Christopher, Daniel, and Sutarki Sutisna. "RUANG GRAFITI SEBAGAI RUANG INSPIRASI ASPIRASI MASYARAKAT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 5, no. 2 (October 31, 2023): 1675–86. http://dx.doi.org/10.24912/stupa.v5i2.24308.
Повний текст джерелаАнотація:
Graffiti art painted in urban areas has a negative impact on the views of the social community. Social problems that cannot be conveyed by the community are problems that are common in the current generation. However, graffiti artists dare to move to convey the inspiration and aspirations of the people with works of art in urban areas. However, some observers often misunderstand and are offended by this and are viewed badly by the public, which turns the work of art into vandalism. The anxiety of graffiti artists is illustrated when city stickers are often affixed with service posters which actually eliminates the aesthetics of cities compared to graffiti in urban areas. Therefore, this study aims to get to know more about graffiti art in order to provide an approach to society so that misunderstandings do not occur and it can be accepted and the community has the courage to channel inspiration and aspirations towards existing social problems. Apart from that, providing a space for moving graffiti where among the space programs that occur there will be graffiti as an interactive program and close to the community. The design method is taken from existing urban graffiti to be opened and analyzed as on the basis of spatial design as well as the results of collage exploration to form a new space for graffiti artists. The design was carried out in Kemang as one of the areas that needed a stopover space as an urban space and close to graffiti art. The spatial approach to graffiti in urban areas is so that it can provide new views for the community so that they can provide new inspiration and aspirations when side by side with graffiti artists in carrying out activities. Keywords: aspiration; graffiti; inspiration; social; vandalism Abstrak Seni grafiti yang dilukis di perkotaan memberikan dampak yang negatif di pandangan masyarakat sosial. Permasalahan sosial yang tidak dapat tersampaikan oleh masyarakat menjadi permasalahan yang sudah biasa terjadi di generasi sekarang. Namun, pelaku seni grafiti berani bergerak untuk menyampaikan inspirasi dan aspirasi masyarakat dengan karya seni di perkotaan. Tetapi, beberapa pandangan yang melihat sering salah menangkap dan tersinggung akan hal tersebut dan dipandang buruk oleh masyarakat yang membuat karya seni tersebut menjadi vandalisme. Keresahan seniman grafiti tergambarkan ketika perkotaan seringkali ditempelkan stiker poster-poster jasa yang justru menghilangkan estetika kota dibandingkan grafiti yang ada di perkotaan. Oleh karena itu, penelitian ini bertujuan untuk mengenal lebih jauh seni grafiti untuk memberikan pendekatan terhadap masyarakat agar tidak terjadi salah persepsi dan dapat diterima dan masyarakat berani untuk menyalurkan inspirasi dan aspirasi terhadap masalah sosial yang ada. Selain itu, memberikan sebuah ruang untuk grafiti bergerak yang dimana diantara program ruang yang terjadi disitu akan ada grafiti sebagai program interaktif dan dekat dengan masyarakat. Metode perancangan diambil dari grafiti di perkotaan yang ada untuk dibuka dan dianalisis sebagai atas dasar desain keruangan maupun hasil eksplorasi kolase untuk membentuk sebuah ruang baru untuk seniman grafiti. Perancangan dilakukan di Kemang sebagai salah satu kawasan yang memerlukan ruang singgah sebagai ruang perkotaan dan dekat dengan seni grafiti. Pendekatan keruangan grafiti di perkotaan agar dapat memberikan pandangan baru untuk masyarakat agar bisa memberikan inspirasi dan aspirasi baru apabila berdampingan dengan seniman grafiti dalam melakukan aktivitas.
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Hoppe, Ilaria. "Graffiti is back in town: Critical approaches to visual and spatial practices in Berlin." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 199–223. http://dx.doi.org/10.1386/jucs_00026_1.
Повний текст джерелаАнотація:
The article considers the critical potential of both graffiti and street art using Berlin as an example, where these forms of urban creativity have flourished. It offers an interdisciplinary, context-related analysis by combining visual and spatial theories, which highlight both their critical agency as well as their affirmative potential in processes of gentrification. In this way, the study takes up the question of Avramidis and Tsilimpounidi about what graffiti and street art actually do in urban space. Thus, they are understood as spatial and visual forms of critique and protest, as also historic positions within the discourses on architecture and the city show, where graffiti, in particular, appears as a critical term. This applies to the general notion of graffiti being a confrontation with the capitalist system and its hegemonic spectacle, as well as the abject view, comparing them with dirt within a racist discourse. Finally, these contestations of and within the democratic city dissolve themselves in the post-urban paradigm. This implies a notion of the city under complete private ownership and control where there is no place for dialectics anymore and the ‘urban’ is seen as a threat to society.
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Ospishcheva-Pavlyshyn, Mariia. "Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010." Contemporary Art, no. 17 (November 30, 2021): 183–94. http://dx.doi.org/10.31500/2309-8813.17.2021.248447.
Повний текст джерелаАнотація:
On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works
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Al-Haj Eid, Dr Omar Abdullah. "WRITING ON TENTS AND CARAVANS IN AL-ZAATARI SYRIAN REFUGEE CAMP OF MAFRAQ, JORDAN: A SOCIOLINGUISTIC ANALYSIS." Humanities & Social Sciences Reviews 7, no. 5 (September 29, 2019): 352–63. http://dx.doi.org/10.18510/hssr.2019.7540.
Повний текст джерелаАнотація:
Purpose: This study aims to investigate the sociolinguistic functions expressed by the written messages on the tents and caravans' surfaces in Al-Zaatari Refugee Camp of Mafraq, Jordan from a sociolinguistic perspective. The study also attempts to find out the relationship between patriotism and graffiti writing in the refugee camp of Mafraq, particularly how the young male refugees practice graffiti writing to express their sense of patriotism towards their homeland, Syria.
Methodology: To achieve the study objective, the researcher collected a set of (144) messages written on the tents and caravans' surfaces of the camp. Content analysis and semi-structured interviews were conducted. The data has been carefully analyzed, classified regarding the sociolinguistic messages and in-depth discussed. A graffiti analysis can be an important means of understanding the linguistic, cultural and social milieu of a community.
Main Findings: The study concludes that graffiti writing on the camp's tents and caravans is functional and a universal phenomenon reflecting ideology. The sociolinguistic function of expressing patriotism and homesickness towards Syria ranked first with a percentage of (80.7%). Tagging is mainly the most common form of graffiti writing and sometimes coupled with drawings. The word Syria is frequently used on most conceivable surfaces of the camp indicating patriotism and longing to their homeland. digs deep into the values and norms of the Jordanian society. To reveal the cultural specificity of such a social, psychological and linguistic phenomenon.
Implications of this study: This paper contributes to the study of sociolinguistics by examining the use of language in the community, norms, and values of the society. It also contributes to other linguistic disciplines such as socio-pragmatics, discourse analysis, and stylistics by analyzing peoples’ writing on several surfaces.
Novelty: No studies were conducted on writing on tents and caravans of Al-Zaatari Syrian Refugee Camp of Mafraq even though this widespread phenomenon outspreads the surfaces of the camp. This study thus attempts to fill this gap in sociolinguistics.
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Cardoso, Adriano Rogério, and Tânia Regina Zimmermann. "GÊNERO E EDUCAÇÃO, INTERFACES COM GRAFITOS EM UMA AMBIÊNCIA ESCOLAR: POSSIBILIDADES DE PESQUISA." COLLOQUIUM HUMANARUM 16, no. 3 (December 19, 2019): 47–62. http://dx.doi.org/10.5747/ch.2019.v16.n3.h432.
Повний текст джерелаАнотація:
This work aims at theoretical-methodological reflections regarding the research concerning representations of sexualities and gender in graffiti produced by adolescents in a School Unit in the interior of the State of São Paulo between the years 2018 and 2019. It is an object of study of the political-pedagogical nature of education, of social relations and not linked to purely technical issues. For the methodology we opted for the descriptive-exploratory research, of qualitative nature. We use elements of the Critical Discourse Analysis (CDA), because they contribute to think about the production of graffiti as texts, examine linguistic, imagery, sociocultural aspects, reflections on the pedagogy process present in graffiti, analyze the discursive plots of power in our patriarchal and Christian society. In graffiti collected in a school environment, we seek to identify and analyze yearnings, doubts, construction of masculinities and femininities, subjectivities as well as gender stigmas and prejudices. The results point out the need for reflection, discussion, visibility of this theme in the processes of professional and continuing teacher training, curricular inclusion, because due to the political and pedagogical interests in education, it invisibilized from its official documents as in the National Curricular Common Base questions of gender and of sexuality.
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Hollis, Crystal. "Connecting Historic Graffiti to Past Parishes and Beliefs." Religions 15, no. 3 (February 28, 2024): 301. http://dx.doi.org/10.3390/rel15030301.
Повний текст джерелаАнотація:
Historic graffiti offer new and interesting insights into late medieval and early modern English society. This paper will show the value of studying these inscriptions by discussing two churches constructed in the late medieval period in Suffolk, England, with drawings of two figures that potentially represent the Virgin Mary and the Christ Child. These drawings are similar and yet quite different in their quality and execution, and they possibly relate to lost medieval imagery within the building. These images may also have been created in response to various iconoclastic movements that occurred as part of the Reformation as well as after it. This paper seeks to encourage further study on the relationship between historic graffiti and local history by observing the connection between the late medieval parish churches of Lidgate and Stradishall and their respective figural drawings by suggesting that graffiti serve a larger purpose than idle drawing or doodling and instead are valuable pieces of evidence about parish life and values.
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Velikonja, Mitja. "“New Others”." Social Text 40, no. 2 (June 1, 2022): 49–68. http://dx.doi.org/10.1215/01642472-9631131.
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Abstract This article deals with mostly negative ideological images of refugees, as they erupted in political graffiti and street art (stickers, stencils, various inscriptions) in Slovenia during the so-called refugee crisis from the fall of 2015 on. Its basic questions are three: How is the ideological process of othering the refugees constructed in political graffiti? How does this relate to dominant discourses and practices in Slovenian society (from official politics to mass media)? What were the reactions against such sprayed hate speech (so pro-refugee graffiti)? The process of othering progresses in two steps: refugees are first imagined as an unified mass that is radically different from imaginary notions of “Slovenianism” and “Europeanism,” which then serves as the basis for differentiation between more and less acceptable of them. On these grounds, four different ideological images are created: a refugee as a criminal, a refugee as an uninvited visitor, a refugee as a powerless victim, and a refugee as a global proletarian. About 150 original photos of anti- and pro-refugee graffiti, mostly from Slovenia (but for comparative reasons also from the whole region), are analyzed using the semiotic method as developed by its classics and finally interpreted with Theodor Adorno and Alexander Mitscherlich's concepts of “displacement of hatred” and Seymour Martin Lipset's concept of “extremism of the center.”
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Želve, Valērija. "PRESERVATION OF STREET ART IN PARIS. AN EXAMPLE FOR RIGA?" Culture Crossroads 13 (November 9, 2022): 65–72. http://dx.doi.org/10.55877/cc.vol13.115.
Повний текст джерелаАнотація:
In many cities graffiti and street art is considered as vandalism and is often connected with crime. However, in some cities majority of the population does not agree with such a statement. They see street art and graffiti as decoration of the city. They think the artists deserve a safe space for expressing themselves. It is already a little step towards preserving the street art movement, as, of course, not all the citizens will share this opinion, since place of street art is still a very arguable question in many cities around the world. More and more organisations, associations and projects of different types are being created to promote and protect the urban art. Promotion of street art can be expressed in different ways, for example, panel discussions and workshops, exhibitions and festivals. Several street art and graffiti related spaces are being opened in Paris. Museums, warehouses, walls, schools – every kind of space could be used as a platform for the artists. This is also a nice way to show to the city council how important this culture is to the citizens of Paris. At the same time Riga cannot be yet proud of a thriving street art and graffiti culture. But what if Riga actually took Paris as an example? Could similar organisations in Latvia improve the society’s attitude towards urban cultures? Could the safe platform for street art be a solution for its popularization in Riga? The aim of this paper is to introduce organisations which promote and protect street art and graffiti in Paris and to evaluate if street art positions in Paris could actually be an example for Riga. The conclusion is that the bigger amount of such organisations is able to actually change the attitude of society towards the urban art and Riga can surely learn a lot from Paris – creating spaces for graffiti and street artists can not only make their positions better, but also it can have a positive impact for the city’s social life and attract a specific type of tourists to the capital.
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Kuzovenkova, Yulia. "The norm and deviation boundaries in the subcultural aspect." Socium i vlast 4 (2020): 47–55. http://dx.doi.org/10.22394/1996-0522-2020-4-47-55.
Повний текст джерелаАнотація:
Introduction. The article examines the role of youth culture (in particular, counterculture and subculture) in reformatting the modern sociocultural space. As long ago asin the 1970s. the researchers pointed out that young people, showing their active position, change the realities of the socio-cultural space in which their parents lived. The research is based on the materials of the graffiti and street art subculture, as an informal artistic practice. The graffiti subculture emerged among African American teenagers in the 1970s in New York City. The first label that this subculture has been endowed with by society and city authorities is vandalism. However, in the late 1970s early 1980s graffiti is involved in the sphere of the art world institutions activities (private galleries) and becomes in demand among collectors. Street art emerges under its influence. The aim of the study is to reveal due to what characteristics of the socio-cultural space the transition from deviation (vandal practice) to the asserting norm became possible. Methods. The methodological basis of the research is the theory of generations by K. Mannheim and his concept of «fresh contact», which indicates the rethinking of the previously assimilated sociocultural experience by the subjects of culture. Another methodological basis is the concept of rhizome, introduced into scientific circulation by the philosophers J. Deleuze and F. Guattari. Scientific novelty of the research. It is shown how the rhizomatic principle of organizing culture is realized during the transition of youth practice from the space of deviant, in accordance with social norms, actions into the institutionalized space of the art world. Results. Using the example of the metamorphosis that the youth subculture of graffiti underwent in the late 20th — early 21st centuries, the author shows how the boundaries between norm and deviation are shifting in modern society. Conclusions. The rhizom principle, clearly manifested in the organization of the space of postmodern culture, allows graffiti and street art to make the above transition. The fall of the great narrative in the art world leads to the loosening of hierarchies and creates an opportunity for the integration of once marginal phenomena into the space of official art. K. Mannheim’s concept of «fresh contact» is effective in the study of postmodern culture.
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Francisco da Silva, Kleber, Roberto Dalmo Varallo Lima de Oliveira, and Márlon Herbert Flora Barbosa Soares. "The Ludic and Human Rights: The Anti-Racist Fight in Science Education for a Political-Scientific Formation through Graffiti Art." Acta Scientiae 23, no. 6 (November 25, 2021): 237–69. http://dx.doi.org/10.17648/acta.scientiae.6324.
Повний текст джерелаАнотація:
Context: With the growing denunciations of violence and injustices in the social relationship, inside and outside schools, education based on human rights is insurgent in the current system of teaching and learning. Using the concept of school as a process of scientific, social and political construction, we planned the teaching and learning process of chemical interactions using the art of graffiti as a playful activity. Objectives: Reflection on chemistry teaching beyond the concepts of natural sciences, but also towards social issues to promote an education that transfigures the traditional model established by the hegemonic power during Brazilian history. Design: We use an ethnographic case study as a method. Scenario and Participants: In this way, we chose to bring graffiti art to chemistry workshops, since the paints are fixed on urban walls through chemical interactions between substances, building images and/or protest phrases that make us rethink the injustices and inequalities existing in Brazilian society and to dialogue the emergence of this art in the black movement with the political aspects of Human Rights. Thirteen students enrolled in a state basic education high school in the city of Goiânia-GO, Brazil, joined the workshops on Human Rights, Graffiti and Chemistry. Eight graffiti artists also participated in the workshop for free. Data collection and analysis: We used transcripts of semi-structured interviews and video-recorded workshops to categorise the data, analysing them with the Descending Hierarchical Classification technique and the use of dendrograms performed by the Iramuteq Software. Results: We obtained categories that evidence the chemical understanding of the content of chemical interactions and the socio-political understanding of human rights, and seven drawings on graffiti murals that show this correlation. Conclusions: The transgression of morals and the empowerment of the subordinate promote playfulness in the individual or collective social visibility of individuals, enabling better assimilation of scientific and social content.
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Young, Alison. "From object to encounter: Aesthetic politics and visual criminology." Theoretical Criminology 18, no. 2 (April 28, 2014): 159–75. http://dx.doi.org/10.1177/1362480613518228.
Повний текст джерелаАнотація:
Recent criminological research has engaged with images of crime such that there increasingly appears to exist a need for a specifically visual criminology. Within visual criminology, however, images are frequently constructed as objects of analysis rather than as constitutive elements of the discursive field. This article draws upon the specific context of the social, cultural and legal responses to uncommissioned words and images in public space—street art and graffiti writing. Focusing on one instance of unauthorized image making, I argue for the dynamic role of the image in the constitution of crime in contemporary society and culture, thanks to the affective dimension of the encounter between spectator and image. The complex range of responses to street art and graffiti highlights ways in which visual criminology must ensure that it eschews an object-centred approach to the image, and conceptualize it instead by means of an aesthetic politics of the encounter.
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Randviir, Anti. "Transdisciplinarity in objects: Spatial signification from graffiti to hegemony." Sign Systems Studies 39, no. 2/4 (December 1, 2011): 88–123. http://dx.doi.org/10.12697/sss.2011.39.2-4.05.
Повний текст джерелаАнотація:
Contemporary sociosemiotics is a way to transcend borderlines between trends inside semiotics, and also other disciplines. Whereas semiotics has been considered as an interdisciplinary field of research par excellence, sociosemiotics can point directions at transdisciplinary research. The present article will try to conjoin the structural and the processual views on culture and society, binding them together with the notion of signification. The signification of space will illustrate the dynamic between both cultures and metacultures, and cultural mainstreams and subcultures. This paper pays attention to the practice of sociocultural semiotisation of space and territorialisation by diverse examples and different sociocultural levels that imply semiotic cooperation between several members of groups that can be characterised as socii. We analyse territorialisation by graffiti, by furnishing spatial environment through artistic manners, by shaping the semiotic essence of cities through naming, renaming and translating street names, by pinning and structuring territories with monuments, by landmarking and mapping cultural space through individualisation of cities. We will see how principles of semiotisation of space are valid on different levels (individual and social, formal and informal, democratic and hegemonic, cultural and subcultural) and how these principles form a transdisciplinary object of study as ‘semiotisation of space’, and how space can be regarded as a genuinely transdisciplinary research object. Individual, culture, and society are connected in such an object both as constituents and as a background of study.
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Kolmakova, Valentina, and Denis Shalkov. "Psychohermeneutics of graffiti: external and internal loci of control." E3S Web of Conferences 273 (2021): 11021. http://dx.doi.org/10.1051/e3sconf/202127311021.
Повний текст джерелаАнотація:
The article examines the features of the expression of psycho-emotional conflict within a person within the framework of external and internal loci of control through the creation of graphic art objects. The authors argue that communicative strategies for resolving problems in stressful situations and seeking social support are associated with the question of the individual's ability to independently solve emerging problem situations and find internal resources to overcome them by releasing psychoemotional stress, based on the structure of the cognitive sphere of a person, the characteristics of his perception and thinking. Typical external semantics of graffiti consists in an attempt to convince others of the hopelessness of being. The internal locus of control is associated with the conceptual sphere of social activity and is embodied in a wide variety of imperative forms, including a call, order, request, advice, and so on. In other words, the psycho-hermeneutics of graffiti is conditioned, on the one hand, by communicative and pragmatic strategies of social empathy (internal locus of control), and, on the other hand, by the conflict of the individual with society and the desire for spiritual and moral escapism, escape from reality to self-isolation and loneliness (external locus of control). The study proposes a classification of graphic art objects, which is based on the form of public expression of the individual's inner world, which is associated with the implementation of the compensatory-pragmatic function of graffiti as a universal code of modern urban communication.
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Skulte, Ilva, and Normunds Kozlovs. "The The Critique of Technocracy in Riga Stencil Graffiti." Informacijos mokslai 87 (April 23, 2020): 72–85. http://dx.doi.org/10.15388/im.2020.87.27.
Повний текст джерелаАнотація:
The utilization of the street as an alternative and independent medium for transmission of radical political ideas is a form of civil disobedience manifested thus to a certain extent in a work of propaganda and is an example of creative idealism. In this case graffiti can be regarded as a non-violent protest that was theoretically described by Henry David Thoreau in the treatise on “The Duty of Civil disobedience”, a work that has become an essential part of anthologies of political and social philosophy. To a certain degree, in its visual format, graffiti is a continuation of the “samizdat” tradition dating back to the Soviet era, both in the sense of a socially critical message and in the use of an alternative medium. Proposing a new, tactical usage of technology critically directed against technocracy of contemporary society youth of the city is trying to occupy it’s public space by specific type of aesthetization and, in the same time, is delivering clear message. The goal of this paper is the reading and interpretation of messages of the images and texts in stencil – graffiti in Riga in the context of interplay between counter cultures, different minor social groups and their ideologies. The method used is social semiotic analysis. The results show that the criticism of technocratic capitalism, consumerism and the oppression of life and the nature are most important issues taken up by the authors of stencils.
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Gushendra, Ryan Putra. "THE ROLE OF GRAFFITI AND MURAL AS ALTERNATIVE PUBLIC SPHERE FOR SOCIETY." PEOPLE: International Journal of Social Sciences 1, no. 1 (May 31, 2017): 746–53. http://dx.doi.org/10.20319/pijss.2015.s21.746753.
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Zhyhailo, M., and M. Aleksandrova. "Explication of traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art." Culture of Ukraine, no. 83 (March 21, 2024): 7–15. http://dx.doi.org/10.31516/2410-5325.083.01.
Повний текст джерелаАнотація:
The purpose of the article — culturologically comprehend the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art.
The methodology of the research is based on the culturology approach combining study of arts and social and cultural methods of analysis of the representation of the traumatic experience in the national street art. The methodologic tools form the system approach (allowing to consider the street art in the system of interaction of processes and phenomena determined by the russian armed aggression in Ukraine), axiological approach (aimed at determination of the place of influence of urban art on the value universe of the traumatized subject), semasiological approach (allowing to consider the murals and graffiti as a sign system through which the communication of street artists and the society is carried out), typology method (to define the principal subject subgroups of patriotic graffiti and murals), structural and functional (aimed at definition of socially important functions of street art in the context of traumatic events).
The results. It was found out that street art, namely graffiti and murals reflect, interpret and comprehend individual and collective experience of traumatic events caused by the predatory war of the russian federation. The principal subgroups of the patriotic wall painting were singled out that reflect the events and public spirits due to russian war aggression in Ukraine. The key functions of the national street art in conditions of the traumatic events were determined.
The scientific novelty. The scientific novelty of the research lies in multivector analysis of the representation of the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national art. The article materials may be used for further manuals, courses, articles in culturology, art studies, history of world culture etc.
Conclusions. 2014–2024 show the decade signifying the traumatic events caused by the russian predatory war for the Ukrainian society. The trauma both on individual and collective levels is comprehended and visualized by the means of street art. Murals and graffiti as an art introspection of national street artists of the traumatic events found reflection in the patriotic themes (the theme of resistance and struggle of the Ukrainians, the theme of symbols and safeguards, the theme of honoring the military, the Armed Forces of Ukraine, the theme of gratitude to the volunteers, the State Emergency Service, etc., the theme of realities and consequences of the war). The street art in the current trauma plays a series of important functions, in particular, communicative, therapeutic and predictive. Urban art is an art of action, resistance, support and consolidation, the site for discussion of the socially important issues, as well as comprehension of the traumatic events of the national history.
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Fransen-Taylor, Pamela, and Bhuva Narayan. "Challenging prevailing narratives with Twitter: An #AustraliaDay case study of participation, representation and elimination of voice in an archive." Journal of Librarianship and Information Science 50, no. 3 (May 7, 2018): 310–21. http://dx.doi.org/10.1177/0961000618769981.
Повний текст джерелаАнотація:
Social media, specifically a microblogging service such as Twitter, constitute a public space that has changed how we interact with, exchange, and respond to information in a civil society. They also have the potential to give public voice to minority narratives that are under-represented in the mainstream media, just as grassroots graffiti in public spaces have done over human history. Using a specific case study around an issue in the Australian national discourse around Australia Day, this study contributes new insights towards an understanding of how alternate narratives are expressed and erased in cyberspace, just as graffiti are erased from public view by the authorities. Widely promoted by official sources as a day of festivity and celebration, the Australia Day Your Way initiative actively promotes the use of the hashtag #AustraliaDay to metatag tweets for capture to an annual time capsule stored by the National Museum of Australia. For Australia’s indigenous minority though, Australia Day is symbolic of an entirely different narrative, expressed online through the hashtags #InvasionDay and #SurvivalDay. We studied all three hashtags and their intersections on Twitter and also compared this data to what was showcased in the official time capsule. We found that although the alternative voices existed on Twitter, they were excluded from the official time capsule. This has implications both for archives and for future historians studying contemporary events.
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Ghosh, Dhrupadi. "Introducing the “New Observationists”: Demystifying a potential tool to revolt in mobile exercise of visuals." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 6 (June 15, 2023): 20–33. http://dx.doi.org/10.31305/rrijm.2023.v08.n06.004.
Повний текст джерелаАнотація:
This is a paper on art and portable dissent that focuses on drawings, paintings, and graffiti by three prominent Indian artists secretly enthralled by the Kolkata and Bengal of the late 1960s. The focus is on avant-garde agit-visuals or an extension of social sculpture (Beuys) that reappear on house walls, white cubes, notebooks, posters, and travel diaries as a wet narrative that rescues social resistance. Despite a hidden dilemma, they generate a different audience by incorporating the local in cross border, keeping an unambiguity intact while bridging nonconformist art movements. The paper goes on to analyse how art has historically been recognised as an instrument of critical reflection, generally emerging as a dominant form against the despotism of a particular social class. They could be called "degenerate art "1 of the 21st century, as they (graffiti) illegally occupy walls. They were not commissioned or made, but survived decades of purge and reinforce a historical time that includes the dystopia of a surveillance society and the tumult of a physically recorded space. This paper will also explore how nonconformist art forms seek to dominate a dialectical discourse on art and resistance in a space infected by consumption. Overall, the implications of art will be discussed in order to understand its practise in terms of mobility and displacement, beyond form and colour in coordination with resistance.
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Grimshaw, Mike. "Believing in Colin: “A Question of Faith” from “Celestial Lavatory Graffiti” to “Derridean Religious Addict”." Pacifica: Australasian Theological Studies 18, no. 2 (June 2005): 175–97. http://dx.doi.org/10.1177/1030570x0501800205.
Повний текст джерелаАнотація:
This essay critically evaluates responses to Colin McCahon's religious paintings over the past fifty years, from A. R. D. Fairburn's dismissal to Laurence Simmons' deconstruction, and beyond to the reception of “A Question of Faith”. McCahon's religious paintings have evoked an ever-changing response that, it is argued, reflects the debate on the role and position of religion and Christianity in both New Zealand society and the wider modern-postmodern world. McCahon's religious paintings of the 1940s were attempts to locate in New Zealand the postwar Christian reconstruction of society, and yet they were rejected by a society not ready for the articulation of a modernist contextual theology. In the 1970s McCahon's return to contextual theology again provoked polarised responses, in part because of his appropriation of Maori spirituality. Likewise, his use of text, as the location of revelation in public space, proved discomforting to a culture more comfortable with a view of itself as secular and of religion as marginalised, privatised and sectarian. More recently the embracing of McCahon by overseas critics and galleries as a major modernist religious artist has forced a reappraisal whereby he has been relocated as a Pakeha prophet While the paintings themselves have often been critiqued, little if any work has been done that reads the critics as articulating wider cultural and societal responses to God, religion and Christianity. This essay discusses the various “McCahon's” that have been articulated by critics and argues that in both McCahon's art and the various critical responses, there is the groundwork for an emergent Antipodean contextual secular theology.
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Soliani, Caterina. "The graffiti art and the discover of the Keith Haring’s mural in Amsterdam." Revista Eviterna, no. 8 (September 22, 2020): 236–49. http://dx.doi.org/10.24310/eviternare.vi8.8979.
Повний текст джерелаАнотація:
The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.
The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not always been understood or accepted, with street artists waiting for the opportune moment to express the narrative, experiences, and emotions of society through their artwork, a power that unites sentiment and encourages change.
It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.
This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.
Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation.
With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.
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SHERLOCK, EMMA, STEWART LEE, SALLY MCPHEE, MARK STEER, JEAN MICHEL MAES, and CSABA CSUZDI. "The first earthworm collections from Nicaragua with description of two new species (Oligochaeta)." Zootaxa 2732, no. 1 (January 5, 2011): 49. http://dx.doi.org/10.11646/zootaxa.2732.1.4.
Повний текст джерелаАнотація:
In August 2009 the Natural History Museum London, Hungarian Natural History Museum and Systematic Zoology Research group, Entomological Museum in Leon and The Society for Environmental Exploration, mounted the first earthworm collection expedition to Nicaragua. No native earthworm species had previously been recorded for this country. This paper lists 18 new species records for the Country with the description of two new taxa to science: Eutrigaster (Graffia) azul sp. n. and Eutrigaster (Graffia) nicaraoi sp. n. New data on the species Eutrigaster (Eutrigaster) oraedivitis Cognetti, 1904 is also presented here.
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Affourtit, Lorraine J. "Street Art as a Discursive Site for Negotiating Pluricultural Governance." Journal of Public Interest Communications 7, no. 2 (December 20, 2023): 26. http://dx.doi.org/10.32473/jpic.v7.i2.p26.
Повний текст джерелаАнотація:
The Oaxaca Commune, a popular uprising that grew into a broad-based movement for social justice, erupted in June 2006 in the capital of the state of Oaxaca in southern Mexico. In this article, I analyze various forms of street art created in the Oaxaca Commune, including graffiti and print media, to examine how these formations created a matrix of visual discourse mapping the political terrain of the Oaxaca Commune onto the spatial terrain of Oaxaca City. Artist collectives mobilized the aesthetics of Mexican graphic agitprop, revolutionary iconography, and religious traditions to create a site for dialogue and negotiation among civil society about key issues of the movement, the development of a popular assembly, and the future of Oaxaca’s democracy.
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Honzl, Jiří. "‘Deo Magno Mercurio Adoravit…’ – The Latin Language and Its Use in Sacred Spaces and Contexts in Roman Egypt." Annals of the Náprstek Museum 42, no. 2 (2021): 15–30. http://dx.doi.org/10.37520/anpm.2021.006.
Повний текст джерелаАнотація:
The use of Latin in the multilingual society of Roman Egypt was never more than marginal. Yet, as a language of the ruling power, the Roman Empire, Latin enjoyed to some extent a privileged status. It was generally more widely applied in the army, as well as on some official occasions, and in the field of law. Less expectably, various Latin inscriptions on stone had religious contents or were found in sacred spaces and contexts. Such texts included honorary and votive inscriptions, visitors’ graffiti, and funerary inscriptions. All three groups are surveyed and evaluated focusing especially on their actual relation to the religious sphere and social background, noting both continuity and changes of existing practices and traditions. Such analysis of the inscriptions allows to draw conclusions not only regarding the use of Latin in religious matters in Egypt but also reveal some aspects of the use of Latin in Egypt in general and the role of Roman culture in the Egyptian society.
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Thakur, Hema. "Megalithic Period in North Maidan, Karnataka." Studies in People's History 8, no. 1 (June 2021): 16–27. http://dx.doi.org/10.1177/2348448921996240.
Повний текст джерелаАнотація:
The megalithic period in Karnataka is significant as it witnessed technological developments like the beginning of use of iron and fast wheel for the making of pottery as well as socio-economic and institutional developments such as the emergence of an agrarian base, demographic expansion, rudimentary craft specialisation, a developing exchange network and a degree of social differentiation. Many features typical of the megalithic phase continue into the early historic period. In fact, the megalithic and the early historical do not essentially represent two distinct chronological entities and are found overlapping at certain sites. So far, there is no literary evidence for the culture, and there is nothing to suggest that the society was literate—if graffiti on the megalithic pottery do not turn out to be symbols of writing
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Stanley, Nile, Laurel Stanley, and Steffani Fletcher. "Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development." Babylonia Journal of Language Education 3 (December 23, 2022): 78–84. http://dx.doi.org/10.55393/babylonia.v3i.207.
Повний текст джерелаАнотація:
Over time, graffiti has inspired art and poetry exhibits by marginalized youth, once excluded by elite museums, now is surging in popularity, and being curated in public spaces at airports, subways, parks, street corners, and even construction sites. This paper highlights Hope at Hand, Inc., an established North Florida nonprofit provider that uses therapeutic art and poetry exhibitions in public spaces to help incarcerated youth recognize and overcome circumstances that limit their successful participation in society. Also, the paper reviews similar international art exhibitions that re-envision the ways museums can decolonize and support more community engagement and inclusive language learning. The lessons learned will demonstrate the ways in which exhibiting poetry and visual art can engage youth and create spaces for promoting cultural awareness. This holistic intervention framework integrates poetry, museum best practices and the arts for bridging and empowering lives. It fills a critical void in knowledge and practice between the arts, museum studies, public health, and citizenship, by considering place-based research in creating a more kind and inclusive society with the arts.
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Bitaieva, Hanna. "Mural Art as a Dynamic Art Phenomenon of Contemporary Ukrainian Society." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 79–86. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260428.
Повний текст джерелаАнотація:
The article raises the issues of emergence, formation of mural art in Ukraine, and development of its manifestations in different cities. Analysis of factors allowed to state that muralism became a popular form of art and found its admirers among artists and city dwellers. Main distinctive features between a mural and graffiti are clarified. The key positions in the formation of the conceptual and ideological components of murals and the phenomenon of the viewer’sinteraction with murals were revealed. The system of organizing various street art festivals in the framework of which the majority of murals in the country were created was investigated. Ukrainian pioneering street artists every year enrich the collection of artworks in Ukraine. Globally renowned foreign artists, whose works can be observed on the facades of buildings in the cities of Ukraine, were listed. The development and spread of muralism in the environment of Ukrainian cities were structured. The positive and negative aspects of the manifestations of this art in the architectural environment were examined. The main factors of the influence of the spread of murals on the cultural and artistic development of the country, as well asthe growth of tourism and the importance of architectural structures with murals, were determined.
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Lungu, Vasilica. "Sociétés en contact au Vie s.av. J.-C. en Dobroudjia septentrionale. L`ecriture greque d`inspiration parmi les indigenes?" CaieteARA. Arhitectură. Restaurare. Arheologie, no. 10 (2019): 5–22. http://dx.doi.org/10.47950/caieteara.2019.10.01.
Повний текст джерелаАнотація:
" La parution en 2004 de l’article consacré au tumulus de Poşta (dépt. de Tulcea) avait attiré l’attention sur une pièce céramique porteuse d’un graffi to, trouvée au sein d’un groupe hétérogène d’objets du VIe s. av. J.-C. Le même contexte a livré également des fragments de quatre vases grecs d’importation : deux amphores, l’une de Chios et la seconde de Clazomènes, et deux coupes ioniennes à bandes. Ils s’inscrivent parmi les plus anciens vases connus par les trouvailles archéologiques de l’ensemble des sites indigènes, contemporains des colonies grecques en Dobroudja septentrionale. Ce graffi to renseigne sur l’impact de l’écriture grecque dans le milieu indigène dans lequel il a été trouvé. La première lecture, off erte par les fouilleurs du site, nous a convaincue de réexaminer de plus près cette pièce constituant un précieux témoignage de l’accueil fait à l’écriture grecque par les divers représentants des communautés indigènes. "