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Todorovic, M & Pajic, T. Det är okej att klottra... eller? En kvantitativ studie om attityden gentemot klotter. Examensarbete i kriminologi 15 poäng. Malmö högskola: Fakulteten för Hälsa och Samhälle, Institutionen för Kriminologi, 2017.Klotter har sedan långt tillbaka i historien varit ett samhällsproblem. Idag talas det ofta om klotter i samband med kostnader. I Sverige klassas klotter som vandalism och faller under brott för skadegörelse. Det går utifrån resultatet att dra en slutsats om att yngre män i större utsträckning har en positiv attityd gentemot klotter. Brottsförebyggande aktörer bör öka kunskapen om klotter redan i tidig skolålder. / Todorovic, M & Pajic, T. It’s okay to scribble... right? A quantitative study on the attitude towards scribble. Degree project in Criminology, 15 credits. Malmö University: Faculty of Health and Society, Department of Criminology, 2017.Scribble has for a long time been a social problem. Today, scribble is often associated with society costs. In Sweden, scribble is classified as vandalism and property damage. The conclusion of this report is that younger men have a more positive attitude toward scribble. Furthermore, the crime prevention actors should increase the knowledge of scribble already in early school age.

Studiens syfte är att skapa en ökad förståelse för gatukonstpraktiken, dess problematik samt eventuella brottsförebyggandeåtgärder. I studien används termen gatukonst som ett samlingsnamn för både graffiti och gatukonst.Praktiken tar idag form under komplexa förhållanden vilka ofta skapar diskussioner kring utövarnas motiv, derasförhållningssätt till det offentliga rummet och deras praktik som en ingång till tyngre kriminalitet. För att kunnadiskutera brottsförebyggande åtgärder behöver således praktiken förstås djupare utifrån utövarnas egna beskrivningarav den. Denna förståelse skapas genom en kvalitativ metod bestående av halvstrukturerade intervjuermed tre personer som har eller har haft kontakt med gatukonstpraktiken. Utöver intervjuer undersöks enomdiskuterad metod med lagliga väggars brottsförebyggande potential genom en temporär laglig gatukonstvägg.Väggens främsta syfte är att testa hur det som privatperson fungerar att söka om tillstånd för en tillställning avdetta slag i det offentliga rummet. I samband med undersökningen har två icke-utövare av gatukonst kunnatintervjuas och 14 uttalanden från olika individer insamlas. Det har varit nödvändigt att intervjua individer somkommer i kontakt med praktiken och de som påverkas av den för att få en förståelse från flera olika perspektiv ompraktikens problematik och för att kunna belysa det offentliga rummets möjligheter för inkluderande.För att diskutera gatukonstpraktiken kopplas den insamlade empirin med teori. Den teoretiska ramen bestårav Zygmunt Bauman, Jeremy Till, Tim Cresswell och Peter Bishop och Lesley Willams för att diskutera platsbegreppetoch dess ständiga föränderlighet. Därefter följer en beskrivning för att definiera det offentliga rummet,där författaren Sören Olsson används. Vidare följer en diskussion om vad det offentliga rummet är och inte ärutifrån Don Mitchell. Social ordning diskuteras utifrån Rolf Lidskogs syn på begreppet. Därefter används HenriLefebvres för att diskutera hur ett socialt rum produceras. Vidare beskrivs begreppet appropriation utifrån LinaOlsson som använder både Michael de Certeau och Lefebvre för att beskriva begreppet. Teoridelen avslutas medN. John Habrakens teorier om territorium. Samtliga av dessa teoretiker visar sin relevans i resultatet där teorier,begrepp och insamlad empiri kopplas med undersökningen med den temporära lagliga gatukonstväggen.Resultatet visar att fler lagliga väggar är en trolig metod för att successivt förbättra förutsättningarna förpraktiken och allmänhetens syn på den. Studiens resultat visar även att gatukonstutövare inte är den homogenagrupp som tidigare forskning vill se den som. Dessutom har studien via undersökningar kunnat visa upp flerautövares olika motiv, vilka inte har varit att vandalisera. / The purpose of this study is to understand the practice of street art, its problems and possible crime prevention methods. The study uses the term street art as a collective description of both graffiti and street art. Street art practice takes form under complex situations which often are discussed through practitioners motives, their approach to public spaces and the practice as an entrance to heavier crime. To be able to discuss and analyse crime prevention methods, the practice of street art needs to be understood on a deeper level through practitioners own description of it. This understanding is created through qualitative interviews based on semi-structured questions with three interviewees who have or have had contact with the practice of street art. In addition, the discussion around legal walls for street art as a crime prevention method is researched with a temporary wall for street art. The primary purpose of the wall is to examine what it’s like as an ordinary citizen to seek permission for this kind of event in public spaces. During the research, two non-practitioners of street art are interviewed and 14 participants opinions are collected. It is a necessity to interview individuals who come in contact with, or who inany way is affected by the practice of street art to be able to understand several sides of the problems that comes with the practice. With this we have been able to highlight the public space and its possibilities for inclusion. To discuss street art practice, empirical observations are linked to theory. The theoretical framework consists of Zygmunt Bauman, Jeremy Till, Tim Cresswell and Peter Bishop and Lesley Williams who discusses space as a constantly changing phenomena. A discussion then follows in which Sören Olsson defines the public space. In addition, Don Mitchell is used to describe the public space in further detail. Social order is discussed through Rolf Lidskogs approach. Henri Lefebvres theory about how social space is created is then discussed. The term appropration is described through Lina Olssons interpretation of Michael de Certeau and Lefebvres definition of it. The final part of the theory chapter is based on N. John Habrakens theories about territory. All these theorists mentioned above show their relevance in the result chapter where theories, terms and empirical observations are linked to the research with the temporary legal wall for street art. The result shows that more legal walls is a credible method in gradually improving the conditions of street art as well as improving the public perceptions of it. The result also shows that street art practitioners cannot not be seen as what earlier studies would call a homogeneous group. Furthermore, the study shows through its research, different practitioners motives, in which none have been to vandalize.

Le graffiti s'exerce aujourd'hui dans la plupart des villes du monde. En envahissant les villes, les graffitis déroutent les citadins par le mystère de leur origine, de leur signification et de leur mobile. Dès lors, l'objectif de cette étude est de déchiffrer les graffitis, d'en expliquer les raisons en allant directement à la rencontre de ceux qui les font et en analysant les relations à l'espace de ces individus ainsi que les enjeux qui en découlent. La pratique du graffiti implique une création de territoire, car les graffiteurs inscrivent sur les espaces urbains des symboles, des valeurs personnelles, des idéologies qui symbolisent une réappropriation du territoire. La conception et la forme de ce territoire varient, mais de quelle façon ? Quels sont les facteurs qui entrent dans la conception de ce territoire ? Comment peut-on le définir ? Sous un regard géographique, quelles réflexions pouvons-nous apporter sur les enjeux sociaux et spatiaux de la pratique ? Il s'agit de démontrer par cette étude que les graffiteurs, de même que la société dans laquelle s'insèrent les graffitis (interaction sociale) et l'espace dans lequel ceux-ci se localisent, participent à la construction du territoire des graffiteurs.

Le scribe royal de la Tombe Boutéhamon est un personnage thébain de première importance dont les témoignages couvrent les dernières années de la XXe dynastie et les premières de la Troisième Période intermédiaire (de Ramsès XI à Smendès Ier). Fils du scribe de la Tombe Djéhoutymès, Boutéhamon est mentionné dans de nombreuses sources épigraphiques (lettres, graffiti et dipinti de la nécropole thébaine, ostraca, phylactère, étiquette de momie) et archéologiques (vestiges architecturaux à Médinet Habou, sarcophages dispersés, mention possible de son inhumation à Deir el-Medineh). L’examen de cette documentation permet, d’une part, de restituer la carrière de ce haut fonctionnaire dans son temps. D’autre part, elle sert à exprimer de nouveau la chronologie incertaine des règnes des pharaons concernés ainsi que la période dite de « la Renaissance ». / The royal scribe of the Tomb Butehamun is an outstanding Theban character, evidence for whom spans the last years of the 20th dynasty and the first years of the Third Intermediate Period (from Rameses XI to Smendes I). Butehamun was the son of the scribe of the Tomb Djehutymes. He is mentioned in numerous epigraphic (letters, graffiti and dipinti from the Theban necropolis, ostraca, phylactery, mummy label) and archaeological sources (architectural remains at Medinet Habu, dispersed coffins, a possible reference to his burial at Deir el-Medineh). Close examination of this body of documents allows reconstructing the career of this high ranking civil servant within his own time. Furthermore, it serves the reassessment of the uncertain chronology of the relevant pharaohs’ reigns and of the period known as “the Renaissance”.

Cílem této magisterské práce je představit jednoho ze zakládajících členů neoistické skupiny, kontroverzního multimediálního performera Istvana Kantora. Práce se snaží zasadit Kantorovy aktivity do širšího historického, teoretického a politického kontextu. V díle Istvana Kantora se magisterská práce zaměřuje především na jeho krvavá X a na jeho názory na umění a tvorbu. Práce by měla korigovat některé nepřesné informace, které život Istvana Kantora a jeho tvorbu obestírají.

This study looks at graffiti in Pompeii that seems to indicate male prostitution, to find out whether this activity occurred in antiquity and whether it was meant for both men and women. The hypothesis, which formed the basis of this study, was that male prostitution was just as common as female prostitution in the city of Pompeii. The information that has been relevant to this study is the one which helps us understand the Roman sexuality and sexual morality, Roman sense of humour and their opinions on prostitutes. To get an answer, both primary and secondary sources that deal with these various subjects have been studied and analysed. The information provided and the discussion of them have been divided thematically, where the first part deals with graffiti that indicates prostitution. The graffiti that mentions male prostitution is compared with the graffiti announcing female prostitution as a means to analyse it. Ancient texts that talk about submissive men are also discussed and analysed. Information about infamia and what effect it has on prostitutes in society follows in the next section, a discussion and analysis about the graffiti that appear to be insults is also to be found. Finally, we have informative texts about the Roman sense of humour, examples of this humour both in ancient texts and graffiti are discussed and analysed. All discussion and analysis have then come to confirm my hypothesis. Male prostitution was just as common during antiquity as female prostitution in the city of Pompeii, it was also meant for both women and men. Graffiti that suggests male and female prostitution does not differ significantly; ancient texts also mention women who take part in these sexual services. Graffiti that mentions male names together with a sexual service and a price are the ones we can state verifies male prostitution. Similar graffiti that excludes a prize is most likely an insult or a joke between two Romans. Further studies are required to be able to discuss and analyse the names that arise in the graffiti mentioning male prostitution.

Esta dissertação tem como objetivo o estudo sobre a expressão artística e estética dos grafites urbanos, mais especificamente na cidade de São Carlos, tendo como base a contextualização do processo histórico do grafite no Brasil e no Mundo, abordando a sua importância como movimento de cultura, resistência sócio-cultural, veículo de comunicação e obra de arte de rua. Também foram pesquisadas as relações do grafite com o Sanca Hip Hop, evento que ocorre anualmente, desde o ano de 2007, no mês de novembro em parceria com o movimento Negro e o coletivo de Hip Hop de São Carlos. Neste estudo procuramos contribuir para a compreensão das intervenções do grafite - um dos elementos do Movimento Hip Hop - apresentando como instrumento a produção estética na cidade de São Carlos, tendo como um recorte necessário para a amostra dos trabalhos, a pista de skate e imediações do Bairro Santa Felícia e pista de skate e imediações do Bairro Cidade Aracy 2, geradas durante o Sanca Hip Hop e o Pré-Sanca Hip Hop. Os sujeitos da pesquisa são os grafiteiros Bico Madrugas (Danilo Alves Barbosa), Lelin Alves (José Wesley Barbosa Alves), Stan Bellini (Leandro Augusto Bellini) e Spok (Luis Carlos Dias de Almeida), em ordem alfabética, que manifestaram interesse em participar da pesquisa. A metodologia empregada foi a entrevista gravada e depois transcrita com a devida autorização dos grafiteiros: Bico Madrugas e Spok, realizadas em locais diferentes de acordo com a disponibilidade de cada um. A entrevista com os grafiteiros Lelin Alves e Stan Bellini se deram por meio de resposta ao questionário enviado por email, devido os participantes não residirem na cidade. Ainda com relação a entrevistas, algumas questões que surgiram durante a redação do trabalho, foram respondidas através de recurso eletrônico do messenger do facebook. Também foi realizada a análise nas obras que consideramos mais relevantes. Para o embasamento da pesquisa utilizouse o referencial teórico de Lara (1996), Costa (1994, 2000) e Zamboni (2001). / This thesis addresses a study on the artistic and aesthetic expression of urban graffiti in the city of São Carlos. It is based on the historical process of graffiti in Brazil and worldwide and approaches its importance as a cultural movement, socio-cultural resistance, communication means and street art work. It also investigates the relations between graffiti and Sanca Hip Hop, an event held annually in November since 2007, in partnership with the Black and collective movement of Hip Hop in São Carlos. The study aims at contributing to the understanding of graffiti interventions - one of the elements of the Hip Hop Movement by presenting the aesthetic production of São Carlos as a tool. The skate park and vicinity of Santa Felicia neighborhood as well as the skate park and surroundings of Aracy City 2 neighborhood were the sites chosen. They were created during Sanca Hip Hop and Pre-Sanca Hip Hop events. The subjects are graffiti artists Bico Madrugas (Danilo Alves Barbosa), Lelin Alves (José Wesley Barbosa Alves), Stan Bellini (Leandro Augusto Bellini) and Spok (Luis Carlos Dias de Almeida) in alphabetical order, who expressed interest in participating of the research. The methodology used was an interview recorded and transcribed with permission of graffiti artists Bico Madrugas and Spok, held in different places, according to the artists´ availability. The interview with Lelin Alves and Stan Bellini was conducted through a questionnaire sent by email, as the artists do not reside in São Carlos. Some issues arisen were answered by facebook messenger. An analysis of the artework considered most relevant was also conducted. The theoretical framework of Lara (1996), Costa (1994, 2000) and Zamboni (2001) was used as the basis for the research.