Orientador: Paulo Rennes Marçal Ribeiro / Banca: Denise Maria Margonari / Banca: Ana Claúdia Figueiredo Rebolho / Resumo: A escola é o local onde os adolescentes passam boa parte do tempo, desta forma, a instituição assume grande responsabilidade na formação destes jovens. A adolescência é um período de intensas mudanças no âmbito físico, psicológico e social, e o ambiente escolar, muitas vezes não está preparado para lidar com esse adolescente, cheio de questionamentos e anseios e, transgressor de regras. A instituição escolar, com suas normas e regras, tenta adequar os corpos e silenciar determinados assuntos, como é o caso da sexualidade. O jovem, que não encontra espaço para falar sobre o tema, procura outra maneira de se expressar, uma delas é a confecção dos grafitos de conotação sexual. Eles podem ser vistos nos mais variados espaços: paredes, banheiros, vidros e nas carteiras escolares, onde os estudantes desenham, escrevem e revelam seus anseios, angústias, preconceitos e dúvidas. O nosso objeto de estudo são os grafitos inscritos nas carteiras escolares, eles representam um importante meio de comunicação, onde se dá as manifestações sexuais. Os objetivos desta pesquisa foram descrever e analisar as representações sexuais de estudantes de uma escola pública do interior do Estado de São Paulo, a partir da expressão gráfica em suas carteiras. Este é um trabalho descritivo-exploratório, de cunho qualitativo, no qual utilizamos a análise de conteúdo como metodologia para a análise dos dados. A coleta do material ocorreu por meio de registros fotográficos dos grafitos encontrados nas carteir... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: School is where teenagers spend much of their time, thus, the institution takes a huge responsibility in the education of these young people. The adolescence is a period of big changes in the physic, psychological and social scope, and the school environment is often not prepared to deal with this teenager, who is full of questions and desires and is a rule transgressor. The school institution, with its standards and rules, tries to suit the bodies and silence some subjects, such as the sexuality. The young person, who cannot find a place to talk about the topic, seeks another way to express him or herself; one of them is the production of graffiti with sexual connotation. They can be seen in several places: walls, bathrooms, windows and school desks where students draw, write and reveal their anxieties, fears, prejudices and doubts. The object of our study are the graffiti written in the school desks. They represent an important mean of communication, where sexual demonstrations happen. The aim of this research was to describe and analyze the sexual representations of students at a public school in the state of Sao Paulo from the graphic expression on their desks. This is a descriptive/exploratory study of qualitative approach, in which we used the content analysis as a methodology for data analysis. The material collection occurred through photographic records of graffiti found on the desks between August and December of 2015. The graffiti were made by students aged between... (Complete abstract click electronic access below) / Mestre

Admitindo a produção estética como uma importante condição da existência humana, não é difícil entender a importância de se dar voz à juventude que tem uma produção poética rica, ainda desconhecida e pouco explorada à seu favor. Dar voz, aqui, sobretudo às suas imagens visuais, criar oportunidades de explorar a eloquência e as significações dessa literacia visual específica (Gil, 2011) e dar ouvidos ao que nos gritam tais imagens. A pagada aqui defendida se estende aos gadgets, às telas de celular, computadores, videoclipes, games, mangás, entre tantas outras fontes visuais e comportamentais. Assim, no permanente processo de ressignificação da escola, nos parece promissor o máximo aproveitamento das imagens que constituem a cultura visual que envolve o cotidiano dos estudantes. Esperamos que esta pesquisa mostre um pouco da riqueza, força ou energia cultural que existe no universo da pichação e a pertinência de sua reflexão em sala de aula como um caminho de elucidação não apenas dos seus aspectos estéticos e plásticos mas, também redefinir o papel político da afirmação de padrões estético-culturais e assim fortalecer o diálogo com os jovens estudantes periferizados / Thinking about the production of these young people as a necessary way to get noticed, or rather, to have their thoughts recorded in a metropolis that was not designed for them, but that they must also belong to them, we tried to carry this discussion to the classroom without the pretense of being pedagogical or regulate graffiti, but understand it better as a resource to reach these visual producers. And so do the most properly possible to the teaching work. Assuming production aesthetics as an important condition of human existence, it is not difficult to understand the importance of giving voice to youth who have a rich poetic production, unknown and unexplored to your favor. Giving voice here, especially to its visual images, creating opportunities to explore the eloquence and the meanings that "visual literacy" specific (Gil, 2011) and to listen to what scream such images. A 'paid' defended here extends to gadgets to mobile screens, computers, video games, manga, among many other behavioral and visual sources. Thus, the ongoing process of reframing the school, seems the most promising use of images that constitute the visual culture that surrounds the daily lives of students. We hope this research show a bit of wealth, power or cultural energy that exists in the universe of the graffiti and the relevance of its reflection in the classroom as a way of clarifying not only its aesthetic and plastic but also redefine the role of political affirmation of cultural-aesthetic standards and thus strengthen the dialogue with young students from the urban periphery

This project focuses on graffiti art as not an unconstructive form of artwork as society might assume, but a way of coping and establishing an identity for youth mostly males who are searching for who they are.

<p>Uppsatsen undersöker den samtida konstens gränser genom att studera hur graffiti beskrivs och behandlas inom dagens konstdiskurs. Den innehåller även en kritisk granskning och genomgång av graffitins historieskrivning.</p><p>Utgångspunkten är påståenden om att den samtida konsten präglas av en öppenhet och en mångfald där vad som helst kan vara konst. Frågan som ställs är om dessa påståenden verkligen stämmer. Undersökningens resultat pekar entydigt på att så inte är fallet. Den samtida konsten framstår tvärtom som ett både socialt och diskursivt snävt avgränsat sammanhang där uteslutning är en central aspekt. Idén om det nyskapande framstår som viktig i bedömningen av vad som betraktas som konst. Deskriptiva och normativa utsagor vävs samman enligt likartade mönster i olika sammanhang, vilket tyder på att det finns väletablerade tolkningsstrukturer. Resultaten pekar även på att dessa strukturer är stabila samt att de har kopplingar till klass.</p>

<p>Ända sedan graffiti började förekomma i Sverige för ca 20 år sedan har den, nästan utan</p><p>undantag, ständigt ökat i omfattning. Sveriges kommuner har försökt bemöta den illegala</p><p>graffitins framfart med olika sorters förebyggande åtgärder. Dock har dessa metoder sällan</p><p>utvärderats kvantitativt, och resultaten av de implementerade åtgärderna är ofta osäkra. Syftet</p><p>med denna studie är att med ekonometrisk metod utvärdera två av dessa metoder; lagliga</p><p>väggar och snabbsanering. Förhållandet mellan dessa åtgärder och anmälda graffitibrott</p><p>undersöks med OLS-regressioner genomförda för en panel med 172 svenska kommuner under</p><p>perioden 1996-2004. De viktigaste resultaten i uppsatsen är 1) den vanligaste åtgärden i</p><p>Sveriges kommuner – snabbsanering – uppvisar ingen negativ effekt på illegal graffiti.</p><p>Tvärtom ger resultaten indikationer på att anmälda graffitibrott ökar som en följd av denna</p><p>metod 2) resultaten för lagliga väggar visar att denna metod inte verkar påverka illegal</p><p>graffiti överhuvudtaget, vilket således motsäger både förespråkare och kritiker av detta som</p><p>en klotterförebyggande åtgärd.</p>

Uppsatsen undersöker den samtida konstens gränser genom att studera hur graffiti beskrivs och behandlas inom dagens konstdiskurs. Den innehåller även en kritisk granskning och genomgång av graffitins historieskrivning. Utgångspunkten är påståenden om att den samtida konsten präglas av en öppenhet och en mångfald där vad som helst kan vara konst. Frågan som ställs är om dessa påståenden verkligen stämmer. Undersökningens resultat pekar entydigt på att så inte är fallet. Den samtida konsten framstår tvärtom som ett både socialt och diskursivt snävt avgränsat sammanhang där uteslutning är en central aspekt. Idén om det nyskapande framstår som viktig i bedömningen av vad som betraktas som konst. Deskriptiva och normativa utsagor vävs samman enligt likartade mönster i olika sammanhang, vilket tyder på att det finns väletablerade tolkningsstrukturer. Resultaten pekar även på att dessa strukturer är stabila samt att de har kopplingar till klass.

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. Den här artikelserien fokuserar kring problematiken och de rättsliga, konstnärliga och personliga aspekterna av klotter, samt personerna bakom – både polis och klottrare.

The work I have created during my time as a graduate student is a reflection of the dialogues I have engaged in with other artists and acquaintances both in and outside of the academic arena. Stylistically this work is derivative of my involvement with graffiti, Tattooing, and underground comics. I have developed the icon of the rider to represent the agency and responsibility of myself as an artist in reflecting these various contexts.

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

The thesis presents the results of a study of 1005 graffiti on 13th century Byzantine amphorae from a shipwreck in the Bay of Sudak near Novy Svet, Crimea, Ukraine. The primary goals of this thesis are 1) to provide an overview of the excavation and shipwreck, 2) to examine the importance of the Novy Svet wreck in terms of Black Sea maritime trade in the Late Byzantine period, 3) to present the data collected at the Center for Underwater Archaeology at the Taras Shevchenko National University in Kiev, Ukraine (CUA) about the graffiti inscribed on the Günsenin IV amphorae raised from the Novy Svet wreck and 4) to discuss the meaning and importance of the graffiti, both aboard the ship itself and in a more general context. The thesis introduces the results of the 2002-2008 underwater excavation seasons at Novy Svet. Excavators have identified a 13th century shipwreck filled with glazed ceramics and amphorae as a Pisan vessel sunk on August 14, 1277. The majority of the amphorae are Günsenin IV jars and have graffiti inscribed on them. Analysis of the graffiti focuses on the division of the marks into morphological categories, and identifying parallels for the specific forms at other archaeological sites. The graffiti are divided into 5 types; Greek/Cyrillic letters, Turkic runes, geometric or pictorial symbols, numerical designations, and Arabic letters. Their parallels speak to a multi-lingual, multi-ethnic trade network in the Black Sea that included Byzantine Greeks, Hellenized Bulgarians, and Arabs.