Littérature scientifique sur le sujet « Graffiti – Société »
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Articles de revues sur le sujet "Graffiti – Société":
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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 (1 décembre 2012) : 84–117. http://dx.doi.org/10.3167/reco.2012.020306.
Résumé :
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.
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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.
Résumé :
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.
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Wakeland, Robin Gay. « 21st Century Graffiti Dialog ». World Journal of Social Science Research 10, no 2 (23 avril 2023) : p23. http://dx.doi.org/10.22158/wjssr.v10n2p23.
Résumé :
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.
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Yendra, Yendra, Ketut Artawa, I. Nyoman Suparwa et Made Sri Satyawati. « Symbolic Functions of Graffiti in Padang City of Indonesia : Critical Linguistic Landscape Studies ». JURNAL ARBITRER 7, no 1 (26 avril 2020) : 100. http://dx.doi.org/10.25077/ar.7.1.100-108.2020.
Résumé :
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.
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Melbārde, Aija, Auguste Petre et Zane Grigoroviča. « VISUAL INSIGHTS INTO GRAFFITI AND STREET ART IN RIGA. PHOTOGRAPHS ». Culture Crossroads 13 (9 novembre 2022) : 9–18. http://dx.doi.org/10.55877/cc.vol13.110.
Résumé :
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, et Grisha GASPARYAN. « ENGLISH TEXTUAL GRAFFITI IN THE CONTEXT OF LANGUAGE FUNCTIONS ». Foreign Languages in Higher Education 24, no 2 (29) (7 décembre 2021) : 13–25. http://dx.doi.org/10.46991/flhe/2020.24.2.013.
Résumé :
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 et 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 (3 octobre 2022) : 100–122. http://dx.doi.org/10.46539/gmd.v4i3.315.
Résumé :
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 (28 décembre 2017) : 130–38. http://dx.doi.org/10.18844/prosoc.v4i11.2867.
Résumé :
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, et Deddy Mulyana. « Beyond Art : Graffiti as a Medium of Counterpublics ». Jurnal Komunikasi : Malaysian Journal of Communication 38, no 3 (30 septembre 2022) : 1–19. http://dx.doi.org/10.17576/jkmjc-2022-3803-01.
Résumé :
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 et 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 (31 mai 2017) : 29. http://dx.doi.org/10.17509/ijal.v7i1.6856.
Résumé :
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.
Thèses sur le sujet "Graffiti – Société":
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Andrieu, Morgane. « Graffites et société en Gaule lyonnaise : contribution à l'étude des inscriptions gravées sur vaisselle céramique ». Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040117.
Résumé :
L'écriture latine est l'un des principaux outils permettant d’étudier la période gallo-romaine. Les contacts entre Romains et indigènes ont favorisé sa diffusion à l'ensemble de la Gaule. Bien que peu de traces nous soient parvenues, l'écriture est un précieux témoignage du passé et l'objectif de cette thèse est d'en étudier l'usage quotidien dans les capitales de cité de Gaule Lyonnaise à travers l'exemple des cités d'Autun, Chartres et Sens. Pour cela, notre étude s'appuie sur l'analyse desinscriptions gravées (graffites) sur vaisselle céramique. La vaisselle en céramique constitue un objet du quotidien accessible à toute la population gallo-romaine et un support épigraphique non périssable. Ainsi, les graffites sur céramique font partie des rares témoignages à notre disposition pour comprendre le quotidien épigraphique des gallo-romains. La première partie de ce travail a consisté à recenser l'ensemble des graffites sur céramique découverts à Autun, Chartres et Sens. Les missions organisées avec l'aide des différentes équipes de bénévoles et le soutien financier du Centre archéologique européen (Bibracte), celui du Ministère de la Culture et celui de l'Université Paris-Sorbonne (Paris IV) nous ont permis de recenser un total de 676 graffites dont la plupart sont inédits. Tous sont répertoriés, illustrés et commentés dans le catalogue de cette thèse. L'étude du corpus intègre les inscriptions, leur analyse linguistique etpaléographique ainsi que leur support et leur contexte de découverte. Les messages transmis par ces inscriptions sont divers (indications de contenu, mesures, voeux, dédicaces, etc.) mais la plupart consistent en des marques d'appartenance incisées sur de la vaisselle de qualité. L'étude révèle des pratiques épigraphiques similaires dans les trois cités et la confrontation des résultats avec les données issues des études précédentes montre que ces codes épigraphiques dépassent largement les frontières de la Gaule LyonnaiseLatin writing is one of the main types of evidence for studying the Gallo-Roman period. Contacts between Romans and natives have favoured its spread throughout Gaul. Although few traces have remained, writing is a valuable testimony of the past and the objective of this thesis is to study its everyday use in the capital cities of Gallia Lugdunensis through the examples of Autun, Chartres and Sens (France). Therefore, this study is based on the analysis of the incised inscriptions (graffiti) on pottery tableware which was an everyday object accessible to the entire Gallo-Roman population and made of a non-perishable material. Thus, graffiti on pottery are among the rare examples at our disposal to understand the daily epigraphic habits of the Gallo-Roman population. The first part of this work was to identify all graffiti on pottery discovered in Autun, Chartres and Sens. The missions, which were possible thanks to the help of volunteers and to the financial support of the European Archaeological Centre (Bibracte), the Ministry of Culture and Paris-Sorbonne University, allowed us to identify a total of 676 graffiti, most of them are unpublished. All are listed, illustrated and discussed in the catalogue of this thesis. The study of the corpus includes the inscriptions, their linguistic and palaeographic analysis, the identification and the dating of their support and context of discovery. The messages transmitted by these inscriptions were different contents, wishes, dedications, etc.), but most consisted of ownership marks incised on quality crockery. The study reveals similar epigraphic practices in the three cities and the comparison with the results of previously published studies shows that these epigraphic codes are used far beyond the borders of Gallia Lugdunensis
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Alrawashdeh, Hana. « Le graffiti dans les camps de fortune au Nord de la France : carrefour de langues, de signes et de discours. Une analyse de différentes réalisations scripturales ». Electronic Thesis or Diss., Université de Lorraine, 2021. http://www.theses.fr/2021LORR0280.
Résumé :
Ce travail de recherche s’intéresse aux graffitis dans les « camps de fortune » qui ont été constitués entre 2016 et 2017 dans le Nord de la France dont, entre autres, celui très connu de Calais (nommé la Jungle). Ces graffitis ont été élaborés par les personnes déplacées qui vivaient sur place. Pour cela, ils utilisaient comme supports les moyens qui étaient à leur disposition, comme les tentes, les murs, les poubelles. Mon corpus est composé de 90 photos de ces graffitis. C’est un corpus hybride, car les graffitis peuvent être composés de textes et d’images, les inscriptions y sont en plusieurs langues (principalement français, anglais, arabe) et peuvent être composées de mots isolés, de citations, d’énoncés brefs et simples. Pour procéder aux analyses, et pour prendre en compte le brassage de langues, j’ai traduit et transcrit la plupart de ces graffitis, et les ai étudiés en prenant en considération l’emplacement de chacun d’eux dans le camp.Les moyens des déplacés pour faire entendre leur désarroi et parfois leur colère sont très limités. En raison de ce contexte social et de la finalité de ces écritures, on observe que les messages présentent, entre autres des revendications, des références au pays d’origine mais aussi des appels à la paix.Étant donné le caractère composite de ce corpus, je l’ai envisagé selon plusieurs points de vue, en le rapportant à chaque étape à son contexte particulier. Pour ce faire, ma thèse est composée de deux parties : la première est une présentation détaillée du contexte général (structuration du camp, populations et langues en présence) ; la deuxième partie porte sur les outils utilisés pour analyser ces graffitis. Dans cette partie, un premier chapitre introduit et discute la notion de graffiti, terme utilisé dans la suite de la thèse ; un deuxième chapitre porte sur les caractéristiques linguistiques de mon corpus ; le troisième chapitre aborde les graffitis en termes d’actes de langage, en prenant en compte les énonciateurs, mais aussi les destinataires des messages : en effet, dans ce contexte, à qui ces graffitis s’adressent-ils ? De plus, peut-on considérer les graffitis, dans ce contexte, comme des écritures exposées ? ; le quatrième chapitre envisage les graffitis dans toute leur dimension signifiante (support, couleur, interaction entre écrit et image) ; Enfin, dans le dernier chapitre, je défends l’idée d’envisager les camps comme des villes, dans lesquelles les graffitis constituent un paysage linguistiqueThis research work focuses on graffiti in the " temporary camps" that were set up between 2016 and 2017 in the North of France, including, among others, the well-known one in Calais (called the Jungle). This graffiti was created by the displaced people who lived there. To help them create the graffiti, those people used the available materials like tents, walls, and garbage bins.The photo collection that I have captured for this graffiti consists of 90 photos.This photo collection is a hybrid collection. It includes text and images. The text was written in several languages (mainly French, English, and Arabic). Also, the text was varied between words, quotes, and short, simple sentences.To conduct the analysis taking into account having the graffiti in different languages, all graffiti work was translated to French. The other factor that has been used in the analysis was the location of each graffiti in the camp. The ways for the residents of these camps to express their anxiety and anger were very limited. Given the social context and the purpose of creating this graffiti, we observed that the messages have included, among other things, demands, references to their countries of origin, and calls for peace. Due to the diversity of the content of this photo collection, I used different criteria to study them, and I applied the appropriate context to each photo.This thesis has two sections. The first section explains the general context of the camps (the structure of the camp, populations, and the spoken languages). The second section talks about the tools that have been used in the analysis of graffiti. The first chapter discusses the concept of graffiti. The second chapter talks about the linguistic characteristics of the photo collection. The third chapter covers graffiti as a speech act and the relationship between the sender and receiver of these messages. In more detail, who is the audience of this graffiti ? Is it possible to consider this graffiti as exposed writing “ écritures exposées ” ? The fourth chapter discusses the significant dimensions of graffiti such as the materials used, colors, and the interaction between writing and image. The last chapter provides my argument about the notion of seeing camps as cities where graffiti can be seen as a linguistic landscape
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Yang, Chorong. « Graffiti et Street art : étude des discours historiographiques et de la critique esthétique d'une forme sociale de modernité visuelle ». Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH016/document.
Résumé :
De nombreuses œuvres plastiques sont nées d'une réflexion théorique et pratique influencée par les questions politiques et sociales. Hormis des différences dans les procédés utilisés, elles sont fédérées par un esprit de rébellion et de contestation. A travers l'examen des rapports entre l'art et la culture populaire, le street art et les phénomènes socio-critiques dans la société de consommation, notre sujet est organisé sur trois axes en quatre parties. Notre intention première va montrer que les artistes modernes ont découvert la valeur artistique des graffitis et de certaines expressions anonymes inscrites sur les murs avec un caractère intellectuel. Ensuite, nous explorerons le sujet dans la perspective de la culture populaire, du regard critique sur l'époque, et de certains critères plastiques qui ont eu de l'influence sur les street artistes en France. Enfin, dans les troisième et quatrième parties, nous étudierons les querelles posées quant à la fonction sociale de l'œuvre d'art, le rôle de l'artiste, le problème éthique de l'artiste, et la valeur artistique véritable dans la culture industrielle et l'art commercial, en déroulant le panorama des activités des street artistes. C'est sur le fondement de cette hypothèse que nous nous sommes posé la question des contenus sociaux/critiques de ce street art et de ses rapports avec la sphère socio-critique qui, lui, est une représentation de l'ère contemporaine. Quant aux deux axes de « la valeur artistique » et de « l'acte rebelle », traitant de la modernité propre à l'art contemporain et des rapports qu'elle entretient avec la vision critique, ceux-ci fondent le mouvement street art, le caractère rebelle ou activiste de cet art et son approche critique du monde de l'art ou de notre société étant indispensables à sa survie en tant que tel. Les méthodologies visent à analyser et à critiquer l'influence politique et sociale de l'image de telle sorte qu'elles permettent de réfléchir sur le champ pratique et théorique de notre étudeMany plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms
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Sabatini, Gerald Andrew. « Graffiti Architecture : Alternative Methodologies for the Appropriation of Space ». University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1216901954.
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Tarawneh, Aram. « Entrapped Between State and Tradition : The Effects of Graffiti and Street Art on the Jordanian Society ». Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21094.
Résumé :
The last seven years have been a transformation point for graffiti and street art in Jordan. Due to the constant inequality that women face in Jordan, graffiti and street artists grabbed the first opportunity presented to them in order to address these issues, when the Baladk Street Art Festival took place in the capital of Jordan, Amman. They used this festival as an opportunity to spread awareness and tell stories related to inequality as well as claim their rights. Resistance from conservative groups in the society towards these murals resulted in more restrictions from the municipality about the content of them. However, artists did not back up and fought their way to keep their art on the city’s walls, but they had to work harder in order to disguise the messages they wished to send to the public. Social change was used as the main concept to follow in this thesis in order to arrive at a conclusion that shows the change that had taken place in Jordan due to graffiti and street art, especially social change regarding ideas and social movements as well as political processes. In order to get the people’s, the municipality’s and artists’ perspectives, qualitative methods were used such as interviews and a survey. Results showed that the municipality's position on the effects of graffiti and street on the society as well as the strict regulations are partially the same. In the meantime, interviews with artists and the survey showed the struggle the artists go through when painting and also the change in the people’s behavior that occurred in the last seven years, from the start of the project until now. The survey’s results showed that most of the people understood the exact meaning of the murals and some respondents interpreted the messages according to their experiences. Therefore, it was concluded that graffiti and street art can serve as a prospective tool to drive social change in the Jordanian society, yet not solitarily. Different aspects, such as people’s behavior, shifting norms as well as a change in laws and policies need to work hand in hand in order to achieve the desired change and cause a social and cultural evolution.
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Duarte, Angelina Maria Luna Tavares. « A sociedade secreta de pichadores/as e grafiteiros/as em Campina Grande-PB ». Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/7273.
Résumé :
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Previous issue date: 2010-12-15Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis is the result of an investigation about the secret‟ society of taggers and graffiti artists, in Campina Grande, State of Paraíba, Brazil. Trying to find the secret kept by the young people involved, our aim was to identify, describe, and analyze its organizational structure, its functioning, its relations, its rules and characteristics. In order to do so, we intercrossed three theoretical and methodological fields: Ethnography; Oral History, and Social Theory of Discourse (FAIRCLOUGH, 2001). The analytical corpus was built upon two verbs: to observe and to listen participative observation and life histories. We observed individuals. We listened to five of them three boys and two girls. We also observed texts and real and virtual contexts. Regarding their discourse about the secret‟ society, we observed linguistic extracts (written and oral texts from taggers and others from graffiti artists, and five narratives of their life histories), so that we could develop the analytical process. We sometimes inquired into texts available on online social networks such as Orkut, written by taggers and graffiti artists, as well as other linguistic events available on group or crew blogs and notes taken on field diary. Within the hierarchically divided and structurally organized space, in which the group plays the main role, individuals live symbolic and material experiences of sociability. They organize themselves, exercise control, set rules, lead, and fund a closed society, whose existence lies on the secrecy. From this society, they play, dispute, protest, negotiate, and claim the inclusion of their cultural practices in the urban contemporary cultural scene. The concept of experience (THOMPSON, 1981) was fundamental to our analysis. The results suggest that the taggers and graffiti artists see the secret‟ society as an identity locus which allows them to have a paradoxical anonymous visibility, once they do not have social projection in peripheries.
Esta tese resultou de uma investigação sobre a sociedade secreta de pichadores/as e grafiteiros/as, em Campina Grande PB. Em busca do segredo guardado por esses/as jovens, estabelecemos, como objetivo, identificar, descrever e analisar a estrutura organizacional, o funcionamento, as relações, as regras e as características dessa sociedade. Para tanto, entrecruzamos três fios teórico-metodológicos: Etnografia, História Oral e Teoria Social do Discurso (FAIRCLOUGH, 2001). Construímos o corpus analítico com dois verbos: OBSERVAR e OUVIR observação participante e histórias de vida. Observamos sujeitos. Ouvimos cinco deles três meninos e duas meninas. Observamos também textos e contextos reais e virtuais. Observamos ainda imagens. No que diz respeito ao discurso produzido por eles/as sobre essa sociedade secreta , utilizamos o procedimento metodológico da observação de excertos linguísticos desse discurso (escrito e oral, respectivamente, alguns textos da pichação e do grafite, e cinco narrativas das histórias de vida), para, a partir deles, desenvolvermos o processo analítico. Recorremos, ainda, algumas vezes, a textos presentes nas páginas do site de relacionamento ORKUT, de pichadores/as e grafiteiros/as, como também a outros eventos linguísticos constantes nas páginas de comunidades e blogs de grupos ou crews, além das anotações no diário de campo. O conceito de experiência (THOMPSON, 1981) foi fundamental às nossas análises. Os resultados sugerem que a sociedade secreta é representada, por esses/as jovens, como um locus identitário que lhes permite, paradoxalmente, uma visibilidade anônima, já que, na periferia, eles não conseguem projeção. Nesse espaço estruturalmente organizado, hierarquicamente dividido, em que o coletivo assume o papel principal, vivenciam experiências simbólicas e materiais de sociabilidade, organizam-se, exercem um controle, estabelecem regras, comandam, fundam uma sociedade fechada, para cuja existência o segredo é uma ferramenta indispensável. Assim, a partir dela, brincam, disputam, protestam, agenciam, mas também reivindicam a inclusão de suas práticas culturais na cena da cultura urbana contemporânea.
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Beauchamp, Geneviève. « Le graffiti comme sous-culture contemporaine : pratique anarchique et marginale ou microcosme de la société moderne ? » Thèse, 2005. http://hdl.handle.net/1866/17181.
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CHANG, YUNG-HSIANG, et 張詠翔. « The Analysis of Graffiti in Berlin – in the aspect of politics, society, culture, and art. / Die Analyse der Graffiti in Berlin - Aus Perspektiven der Politik, Gesellschaft, Kultur und Kunst ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/byg587.
Résumé :
碩士東吳大學
德國文化學系
107
In 1961, German Democratic Republic (GDR) began to build the Berlin Wall, which became the most famous open-air gallery in the world in 1990. Graffiti came to be cultural symbol of Berlin at this time, and had a huge positive impact on the growth of tourism economy in Berlin. The graffiti movement was introduced from the United States to Germany during the 1980s. The graffiti in Berlin developed from Kreuzberg. After World War Two, migration of Kreuzberg and inability to attract investment resulted in tons of empty houses there; additionally, intense social situation also contributed to social structural conditions of the development of graffiti. Based on the geographical and historical factors of Kreuzberg, the amount of graffiti is larger and the art pieces are more delicate than those in other areas of Berlin. After the collapse of the Berlin Wall, graffiti spread far wider, even to the Eastern Berlin. The forms of graffiti in Berlin were diverse; moreover, the techniques, the way of using it, and the motivation of graffiti writers were a far cry from pieces to pieces. The status of graffiti changed due to the variation of the social situation, the promotion of relevant groups, and the development of the tourism economy. The changes could also be observed from corresponding policies of the concerned government. This paper features the function, which continues on varying considering changes in society, of graffiti in Berlin with four aspects: politics, society, culture and art.
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Dube, Liketso. « Exploration of Ndebele carnival literature posted on Facebook walls and how it provides an escape route from censorship in Zimbabwe ». Thesis, 2020. http://hdl.handle.net/10500/27415.
Résumé :
This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study.
Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in traditional graffiti production and coming up with posts on a Facebook wall is a
deliberate effort with a target audience just as other genres of literature have. However, society tends to condemn carnival literature as a rebellious genre that deserves exclusion from ‗normal‘
interaction. Carnival literature is therefore censored through tabooing its themes and language.
The term carnival literature is derived from medieval performances that were named the ‗carnivalesque‘ by Bakhtin and have equivalents in Africa as a continent and in Zimbabwe as a nation. The characteristics of carnivality are found in both traditional graffiti and ‗cyber‘ graffiti.
These, among others, include sex and sexuality as themes, obscenities, vulgarities, and all language that is considered offensive. Interestingly, these elements of carnivality evoke laughter
of one kind or another. Latrinalia from selected public toilets from the city of Bulawayo was photographed and subjected to Critical Discourse Analysis with attention being paid to carnivality, Bakhtinian dialogism and humour and its impact on the interaction process. Posts on
walls of the selected Facebook group and individual accounts were subjected to the same treatment that was given traditional graffiti. The thesis argues that social media can perform a
similar function to that of traditional graffiti with added advantages. Social media has created world communities that are brought together by common interests and platforms where they meet and share ideas. The study also established that messages have layers of meaning, making it unreasonable to ban certain messages since they serve a particular purpose. Social media, particularly Facebook, provides pockets of privacy for candid and unfettered interaction that
service specific audiences among the Ndebele; hence can function as the escape route for carnival literature from cultural censorship in Zimbabwe.African Languages
D. Phil. (African Languages)
Livres sur le sujet "Graffiti – Société":
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Ponosov, Igorʹ. Iskusstvo i gorod : Graffiti, ulichnoe iskusstvo, aktivizm. Moskva : [publisher not identified], 2016.
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Andersen, Ivar. Playground Sweden. Årsta : Dokument, 2007.
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Mania, Patrizia, Raffaella Petrilli et Elisabetta Cristallini. Arte sui muri della città : Street art e urban art : questioni aperte. Roma : Round Robin editrice, 2017.
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Roa, Alberto Saldarriaga. Ciudad contemporánea : Arte, imagen y memoria. Sous la direction de Vargas Rodríguez Alberto. Bogotá : Universidad de Bogotá Jorge Tadeo Lozano, 2011.
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Milnor, Kristina. Graffiti and the literary landscape in Roman Pompeii. Oxford : Oxford University Press, 2014.
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Varnedoe, Kirk. High & Low : Moderne Kunst und Trivialkultur. München : Prestel-Verlag, 1990.
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Campos, Ricardo. Arte(s) urbana(s). Ribeirão - V. N. Famalicão : Húmus, 2020.
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Mills, Stormie. Dwi yma. [West Perth, W.A.] : Magenta Group, 2013.
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Tilly, Luke. If you like art you'll love this : The necessity of graffiti in todays society. London : LCP, 1999.
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Magalhães, Liliana, et Lucas Ribeiro. Transfer : Cultura urbana, arte contemporânea, transferências, transformações : Santander Cultural, Porto Alegre, de 25 junho a 28 setembro de 2008. Porto Alegre, Rio Grande do Sul, Brazil] : Santander Cultural, 2008.
Chapitres de livres sur le sujet "Graffiti – Société":
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Bishop, Elizabeth. « “Dogs of Wall Street, Let Us Alone” : Graffiti in Cold War Baghdad, 1953 ». Dans The Arab Spring, Civil Society, and Innovative Activism, 17–32. New York : Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57177-9_2.
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Sargsyan, Gagik G., et Amir Harrak. « Armenian Inscriptions and Graffiti at the Monastery of Mār Behnam and in Qaraqosh ». Dans Journal of the Canadian Society for Syriac Studies 15, sous la direction de Amir Harrak, 17–32. Piscataway, NJ, USA : Gorgias Press, 2015. http://dx.doi.org/10.31826/9781463236915-003.
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Carmona-Quiroga, Paula María, María Teresa Blanco-Varela et Sagrario Martínez-Ramírez. « Freeze-Thaw and UV Resistance in Building Stone Coated with Two Permanent Anti-graffiti Treatments ». Dans Engineering Geology for Society and Territory - Volume 8, 531–34. Cham : Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09408-3_94.
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Bassetti, Massimiliano. « I graffi ti dell’abside nord di S. Zeno : uno spaccato della societa veronese dei secoli ix e x ». Dans Urban identities in Northern Italy, 800-1100 ca., 307–36. Turnhout : Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.scisam-eb.5.109866.
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Porter, Martin. « Living Graffiti ». Dans Windows of the Soul, 255–300. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199276578.003.0007.
Résumé :
Abstract In one extant copy of the Kalendar of Shepherds, the passage referring to the special way in which shepherds and simple people know God has been underlined. In the ensuing analysis it will be argued that the graffiti in these ‘treatises on physiognomy’ reveal a number of different reading practices of ‘humble folk’ or even the ‘poorest members of society’, including those who could not quite read books. Indeed, many of them can be taken as an indication of the way in which the innate iconicity of the language of physiognomony inspired some form of visual representation. The first is a scholary examination referencing of the sources of the physiognomy in the text.
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Ley, David, et Roman Cybriwsky. « Urban Graffiti as Territorial Markers* ». Dans Culture and Society, 143–57. Routledge, 2018. http://dx.doi.org/10.4324/9781351160360-7.
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Alves, Aline Kedma Araujo, Rafael Santos Câmara et lyane Lins Corrêa. « Urban (In)Visibilities : Women Artists of Graffiti in Salvador City ». Dans COMbART:Arte, artivismo e cidadania. Utopias e futuros imaginados, 218–37. Universidade do Porto. Faculdade de Letras, 2020. http://dx.doi.org/10.21747/978-989-9082-54-0/comba14.
Résumé :
This article intends to approach the relations between the feminine and the field of Graffiti, understanding it as an inherently urban phenomenon whose language is linked to peripheral cultural representations; seeking to understand the possible transformations present in this area, occupied mainly by men. Considered an artistic practice of urban visual culture, the messages transmitted through Graffiti are dynamic and articulate, artistically and politically, individuals made invisible in society. In order to understand this process of political representation through art, we present the production of five Graffiti artists whose works are located mainly in the city of Salvador - Bahia, artists who use Graffiti to spread messages disregarded by the social status quo. Through interviews with these artists, issues of gender, race/ethnicity and class were addressed in the light of intersectional feminism. It is intended to contribute through this research to gender issues in the visual arts and to research on Graffiti in general.
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Bost, Jean-Pierre. « Quelques graffitis de Périgueux antique ». Dans L’Empire romain et les sociétés provinciales, 347–69. Ausonius Éditions, 2009. http://dx.doi.org/10.4000/books.ausonius.8525.
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Richlin, Amy. « Graffiti, Gossip, Lampoons, and Rhetorical Invective ». Dans The Garden of Priapus, 81–104. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195068733.003.0004.
Résumé :
Abstract Perception of the simplest level of Roman sexual humor is complicated and hampered by the fact that we cannot directly record Roman verbal and colloquial humor and abuse. This makes it somewhat difficult to determine what were appropriate levels of language for different levels of society and different social situations.
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Bost, Jean-Pierre. « Exploits amoureux à Limoges au iiie siècle après J.-C. : trois graffiti de la “Maison des Nones de Mars” ». Dans L’Empire romain et les sociétés provinciales, 241–49. Ausonius Éditions, 2009. http://dx.doi.org/10.4000/books.ausonius.8507.
Actes de conférences sur le sujet "Graffiti – Société":
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Albu, Ion, Svetlana Albu et Adrian-Alexandru Șerbănoiu. « Solutions to maintain and increase the value of the built heritage in the mun. Chișinău ». Dans The 5th Economic International Conference “Competitiveness and sustainable development“. Technical University of Moldova, 2023. http://dx.doi.org/10.52326/csd2023.17.
Résumé :
Protecting, maintaining, and enhancing the value of built heritage is an ongoing process of developing its links with society. The research conducted has underscored the distinct nature of built heritage as a valuable object over time, the significance of maintaining its value, identifying those responsible for safeguarding, and other unique aspects of its protection. Preserving the condition and worth of the built heritage is a responsibility for all individuals. At present, the worth of the built heritage in the Historic Centre of the town is under consideration. Chisinau faces several threats, namely: unsustainable and improper urbanization; the respective attitudes of the Municipality and the Local Public Administration; inadequate training of heritage specialists for addressing problems; defacement of built heritage by graffiti; and inadequate enforcement of legislation protecting cultural heritage sites and insufficient penalization for its breach. This paper proposes solutions to enhance the value of the city’s-built heritage by incorporating them into the tourist and commercial sectors while converting them into eco-friendly properties. The primary hurdles lie in devising a collection of suggestions to enhance the circumstances regarding the appreciation of Chisinau city's cultural legacy.