nÃo hà / A presente pesquisa foca na anÃlise das prÃticas da pixaÃÃo e do graffiti e de suas relaÃÃes na cidade de Fortaleza-CE. Esse estudo teve como delimitaÃÃo de campo o bairro Benfica e atravÃs de uma metodologia etnogrÃfica as ruas e avenidas desse bairro foram percorridas por meio de caminhadas que tiveram como foco a observaÃÃo e registro, por meio de fotografias, dos signos de pixos, graffiti e publicidade. Problematizamos de que maneira essas intervenÃÃes ocupam a cidade e de que modo elas se relacionam entre si. Os muros apresentaram relaÃÃes, em sua maioria, conflituosas a partir de uma disputa por visibilidade. A partir das imagens de campo e fala dos interlocutores foram desenvolvidas discussÃes acercas das seguintes relaÃÃes: costura, atropelo, rasura, sufoco e cobertura. As narrativas tambÃm deflagraram diferenciaÃÃes nas fronteiras entre pixaÃÃo, graffiti e arte urbana. Para alÃm da agonÃstica que permeiam esses campos, a aÃÃo de ressignificar o urbano por meios dessas linguagens foi vista a partir das contribuiÃÃes de RanciÃre e de outros autores como Foucault e Agamben como cenas de dissenso ou micropolÃticas de resistÃncia que possibilitam rearranjos de poder, desafiando as forÃas da disciplina e da normatizaÃÃo. / This research focuses on the analysis of the practices of pixaÃÃo and graffiti and their relations in the city of Fortaleza-CE. This study was field delimitation Benfica neighborhood and through an ethnographic methodology the streets and avenues of this neighborhood were covered by hikes that have focused on the observation and recording, through photographs, pixos signs, graffiti and advertising. We question how these interventions occupy the city and how they relate to each other. The walls had relations, mostly conflicting from a competition for visibility. From the field and speaks of the interlocutors was made discussions about the following relationships: sewing, trampling, erasure, suffocation and coverage. The narratives also triggered differentiation in the boundaries between pixaÃÃo, graffiti and urban art. In addition to the agonistic that permeate these fields, the action of reframe the city by these languages was seen from the contributions of RanciÃre and other authors as Foucault and Agamben as dissent scenes or resistance of micro enabling power rearrangements, challenging the forces of discipline and standardization.

Este trabalho de cunho prático-teórico investiga, por meio de ensaios artísticos projetados nas superfícies da cidade, especialmente nas inexpressivas ou degradadas, possibilidades de integrá-las em uma narrativa visual que, ao se inscrever na complexidade do olhar urbano que explora dimensões para além das superfícies, convide as pessoas a criar territórios poéticos, reinventando suas próprias cidades. O projeto propõe a inscrição de figuras de ratos em um trecho selecionado do elevado paulistano \"Minhocão\" e arredores. Os ratos são posicionados estrategicamente e, ao longo do percurso, transformam-se morfologicamente. Essas metamorfoses sugerem, elas próprias, fabulações e promovem interpretações variadas dos significados tanto das figuras quanto das relações entre as superfícies nas quais se inscrevem. Neste projeto a cidade não é tratada como suporte passivo. O que se pretende é explorar possibilidades resultantes da percepção conjunta da ambiência, das características físicas do espaço construído, das figuras inscritas e de outras relações que concorram para a oferta de estímulos a elaborações sintáticas, semânticas, poéticas, políticas da cidade. / This dissertation of theoretical-practical intent investigates, by means of using artistic essays projected at city surfaces, especially in those negligible and derelict cities, possibilities to integrate them in a visual narrative. Such narrative, in the framework of urban eyes\' complexity, which explores dimensions beyond its surfaces, invites people to create poetical territories reinventing their own cities. The project proposes the inscription of rats\' images in a selected stretch of \"Minhocão\" (an elevated way in São Paulo) and its surrounding areas. The rats are strategically placed and, over the route, they are morphologically transformed. These metamorphoses suggests, themselves, fable makings, and fosters most varied interpretations, from both of the images as the relations between the surfaces in which they are inscribed. In this project the city is not treated as a passive support. What it intend is to explore possibilities issued from the joint perception of the ambience, of the physics of constructed space, of the images inscribed and other relationships that compete to offer boosts into syntactic, semantic, poetic and politic elaborations of the city.

Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality. / African Languages / D. Litt. et Phil. (African Languages)

För att förebygga klotterbrott upprättade Västerås år 2012 och Norberg år 2002 varsin laglig graffitivägg. Denna studie undersöker med hjälp av klotterbrottsstatistik huruvida en minskning i antal anmälda klotterbrott har skett i kommunerna efter att väggarna upprättades. Datan har analyserats genom Z-tester. Västerås har delats in i tre områden med olika avstånd till väggen. Indelningen har gjorts då hypotesen i denna uppsats är att det har skett en minskning i antal anmälda klotterbrott i Område 2 och Område 3. Resultaten för Västerås visar en signifikant minskning i antal anmälda klotterbrott i Område 2 och 3, men däremot ingen signifikant minskning i väggens närområde. I Norberg har det skett en signifikant ökning i anmälda klotterbrott de första fem åren efter att graffitiväggen upprättades, men ingen signifikant ökning de senaste fem åren. Slutsatser som kan dras är att den lagliga graffitiväggen i Västerås möjligtvis har fyllt sitt syfte som brottsförebyggande föremål i Område 2 och 3 men inte i väggens närområde. I Norberg verkar väggen inte ha gett någon klotterförebyggande effekt de första fem åren efter att väggen upprättades. / For crime preventive purposes the municipality of Västerås and Norberg put up legal graffiti walls in 2012 and 2002, respectively. The present study examines whether there has been a decrease in number of reported graffiti crimes after these walls were put up. Data were analyzed using Z-tests. Västerås was divided into three areas with different distance to the wall. This was done because the hypothesis in this study is that there has been a decrease in reported graffiti crimes in Area 2 and 3. The results for Västerås showed a significant decrease in Area 2 and 3, but no significant decrease in the area closest to the wall. In Norberg the results showed a significant increase in number of reported graffiti crimes the first five years after the wall was put up but no significant increase the last five years. In conclusion, the legal graffiti wall in Västerås seems to have had a crime preventive effect in Area 2 and 3 but not in the area closest to the wall. In the municipality of Norberg it does not seem to have had a crime preventing effect the first five years after the wall was put up.

The purpose of this thesis is to explain how the change of the zero tolerance policy in Stockholm against graffiti has been affected by the different formulations of graffiti as a problem. The purpose is fulfilled by applying a dynamic frameanalysis on the processes of creating and changing the policy. The analysis begins in the 1980s and continues until present time. By using this kind of process study the thesis shows that it was the actions made by the supporters of the zero tolerance-policy which started the changing process. It also shows that the process has not yet ended and the policy is likely to be changed again within the next few years.

Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality. / African Languages / D. Litt. et Phil. (African Languages)

<p>Straffskalan för klotter skärps hela tiden. Ändå är det många som håller på. Det måste vara något annat än spänningen och viljan att synas som driver klottrarna.</p><p>Den här artikelserien fokuserar kring problematiken och de rättsliga, konstnärliga och personliga aspekterna av klotter, samt personerna bakom – både polis och</p><p>klottrare.</p>

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

自有書寫以來就有了塗鴉的存在，但到了20世紀60年代末，因為城市青年競相以極盡時尚的方式在紐約各處留名，這種新的現象開始逐漸受到矚目。美國其他城市的年輕人隨即展開效仿，自此，塗鴉開始正式走向全球。有時作為城市藝術受到歌頌，有時作為破壞主義受到媒體和當局譴責。對於世界各地的許多年輕人而言，塗鴉也是收獲名望和地位的途徑、自我表達的管道、逃避眼前壓力的方式和一種反叛的手段。塗鴉文化在20多年前傳播到台灣，同樣吸引了在地青年因自身的種種理由、難題與想傳遞的訊息而進行書寫。雖然在許多英語系國家中已詳細研究過塗鴉文化，但我們有機會在台灣這個截然不同的社會中進行深入探索。台灣的塗鴉寫作如何與國際塗鴉世界連結？台灣獨特的文化在哪些方面影響了塗鴉文化的發展？台灣青年從參與塗鴉文化中獲益多少？本論文試圖通過符號互動主義的角度來探討這些問題。 / Graffiti has existed as long as writing, but towards the end of the 1960s a new phenomenon began gaining attention as urban youth competed to write their tags all over New York and as stylishly as possible. Soon other youth in American cities began emulating them, and from there it went global. At times celebrated as urban art, and at others lambasted by the media and authorities as vandalism, for many young people around the world, graffiti has also been a path to fame and status, a means of self-expression, a way to escape the pressures young people face, and a means of rebellion. Graffiti culture spread to Taiwan more than 20 years ago, and has similarly attracted young people here who have their own reasons for writing, their own problems, and things they want to express. While graffiti culture has been studied in many English speaking countries in great detail, in Taiwan we have the opportunity to explore it in a significantly different society. How is graffiti writing in Taiwan connected to the international graffiti world? In what ways has Taiwan’s unique culture influenced the development of graffiti culture here? And what do Taiwanese youth gain from participation in graffiti culture? This thesis is an attempt to address these questions and more through the perspective of symbolic interactionism.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.