Graffiti

Hip-hop in South Africa has been on a
roller coaster ride since its emergence as
a protest tool among non-white youths
against apartheid in the early 1980s.
Although the collapse of apartheid in
the early 1990s opened up an era of
commercialisation which ultimately
suppressed its “protest” feature, it has again
resurfaced reflecting the social hills of the
post-apartheid era, such as class struggles
and imbalances, corruption, HIV, violence,
racism and poverty.

Street art  to jeden z fenomenów współczesnej sztuki. Uwodzi rozmachem, oryginalnością, jest wyrazem nieskrępowanej wyobraźni i nieograniczonej pomysłowości twórców. Łamie konwencje, niesie ze sobą posmak rebelii, pewnej nielegalności, czy wręcz zakazanego owocu. Zaskakuje formą i często pojawia się w najmniej oczekiwanych miejscach. Jako zjawisko dynamiczne wciąż jeszcze jest słabo opisany – niniejszy album stanowi próbę wypełnienia tej luki. Autorka w pasjonujący sposób opowiada o rozwoju sztuki w przestrzeni publicznej – od malowideł w jaskiniach naszych prehistorycznych przodków po  czasy, w których żyjemy. Prezentuje najważniejsze nurty i jej twórców – nie tylko tych najsłynniejszych, jak Banksy i Basquiat. Prowadzi czytelnika przez ulice miast (w Polsce i na świecie), zwracając uwagę na najciekawsze przejawy tej fascynującej dziedziny sztuki: murale polityczne, reklamowe, artystyczne, zaangażowane społecznie, a także pomniki, instalacje, plakaty, szablony itp. Poświęca także uwagę graffiti, z którym szeroko rozumiany street art jest związany. / z noty wydawcy

TESIS DOCTORAL COMPLETA
Proyecto de investigación artístico y social que a través del estudio de las principales influencias, herramientas, una selección de fuentes filmográficas y bibliográficas y entrevistas personales, pretende facilitar la compresión del graffiti y el arte urbano.
Se propone acuñar los términos “visión purista” y “visión evolutiva" para diferenciar dos formas de entender el graffiti y el arte urbano.
Se incluyen más de 40 entrevistas a escritores de graffiti y artistas urbanos principalmente de Madrid, Barcelona y Granada. También hay capítulos dedicados a los argumentos que justifican la ilegalidad y a los valores e ideologías que impulsan el movimiento.
Las conclusiones proponen un enfoque constructivo para la generación que tomará el relevo.

Özet: Küreselleşme çağında enformasyon zaman ve mekân hızını aşmıştır. Küreselleşme sürecindeki yaygın medya söylemi savaşları, özgürlük mücadelelerini, ekonomik çelişkileri, gelir dağılımındaki eşitsizlikleri vb. görmezlikten gelmektedir. Buna karşın sokağın sesi olan grafiti başka bir mecra olarak yeni olanaklar yaratabilir. Graffitinin çıkış noktası olan duvarlar aynı zamanda direnişin de temsili ve çıkış noktasıdır. Kamusal alan olan duvarlar illegal olarak sembolik, politik ve sanatsal şekilde yeniden düzenlenir. Bu bakış açısından yola çıkan çalışma, grafik sanatçısı Banksy'nin eserlerini ele almıştır. Çalışmanın amacı graffitinin egemen yeni dünya düzenine karşı 'başka bir anlam yaratma' ve 'başka dünya tahayyüllerine' olanak sağlayıp sağlamadığını incelemektir. Bu bağlamda graffiti nasıl bir iletişim aracıdır? Küreselleşmiş dünyamızda televizyon, gazete, internet gibi kitle iletişim araçları ile yoğun bir şekilde sisteme uyum çağrısı yapılıyor. Kamusal alan olan sokaklarda yer alan duvarlar, graffiti aracılığıyla sisteme karşı kullanılabilir mi? Graffiti başka ifade alanlarının yaşamasına olanak yaratan yeni bir mecra olabilir mi? sorularına bu makalede cevap aranacaktır. Graffitinin yeni söylemlerin üretildiği bir direniş zemini olup olmadığı makale üzerinden sorgulanacaktır. Anahtar Sözcükler: Graffiti, Aktivizm, Banksy Extended Abstract: Globalisation is one of the phenomena that has a big impact on the world. The effect of globalization can often be seen on various areas such as economy, politics, culture, science, technology and media. Anti-globalization movement, on the other hand, claims that globalization is a new way of imperialism and that individuals are being pacified by it. Opponents of globalization have been endeavouring to make a stand against this kind of new life style and have come up with new ideas. Anti-globalization activists have been questioning the possibility of this new world formation. The word activist can be defined as someone who campaigns for a social or political change. Activists stand out with a large variety of possible actions, such as organising meetings, boycotts, guerrilla demonstrations, strikes and meetings. Graffiti is also one of these actions which activists use. Walls, which are the starting point of graffiti,

This essay analyzes discourses and narratives of men who frequent the washrooms at public venues in Havana. The graffiti on toilet room walls works as an articulator of micro markets of sexual communication and gender/sexual relations. In this article graffiti is the focus of an ethnographic approach to everyday life and discourses on homoeroticism at play in those sites. The final part of the essay moves on from graffiti in public toilets to chart other places constituting a homoerotic ambiente in Havana.

This dissertation investigates homo- and bisexuality in the Roman world, by focusing primarily on Pompeii’s graffiti. Scratched on walls, street facades, public buildings, within the domus and often inserted in paintings or frescoes, Pompeian graffiti differ in topic, structure and kind: they vary from insults to dedications, from political notices to salutations, from jokes to love poems. The quantity of homoerotic graffiti is, in particular, worthy of note, since they offer an important contribution to the study of homo- and bisexual attitudes in the Roman world. If today sexuality is divided into distinct categories and homo- and bisexuality are seen as “unnatural” and “against nature” in some countries, Pompeii’s homoerotic graffiti help us overturn this view: not only do they show that homo- and bisexual behaviours were widespread among the Romans but also that our modern conception of sexuality can be applied only in part to the Roman world, since it was not present in the same form. The graffiti from Pompeii demonstrate that sexuality is a transient concept, which varies according to time, society and culture, and they also invite us to think afresh about our modern way of considering of homo- and bisexual attitudes.

A presente pesquisa é o resultado de teoria e prática envolvendo literatura e arte urbana. A partir de leituras e constatações da obra literária As Cidades Invisíveis de Ítalo Calvino, iniciamos comparações entre as cidades imaginadas do livro e as cidades contemporâneas, que carregam diversas características daquelas descritas no livro. Brasília, como principal objeto de estudo, apresenta algumas dessas características, e nos propomos a, inspirados na obra de Calvino, escrever uma nova Cidade Invisível a partir de uma das faces da Capital Federal. Escolhemos a Arte Urbana como linguagem para o conto a ser escrito e a tecnologia como meio para se chegar à Arte Urbana de Brasília compartilhada pelas redes sociais. No final, compilamos as imagens encontradas e, juntamente com a visão pessoal da pesquisadora/viajante dessa cidade invisível, propomos a escrita de um novo conto com características de Brasília e Calvino como inspiração literária.

Gabriela Ferrada es una pintora de street art, nacida en la ciudad de Chillán, Chile. Tiene estudios en Trabajo Social, magíster en Estudios Culturales y Gestión Cultural, y es la presidenta de la Agrupación Pintarte, desde el 2009 hasta la fecha, momento en el que se encuentra trabajando y enfocada en su producción artística personal, como en distintos proyectos personales y colectivos.

The aim of this paper is to establish a link between the code-switch "tags" in Junot Díaz's work and some formal resources of graffiti artists, in particular their emblematic "tagz." These elements are read together to attest to a battle of the discursive sort being waged in the discursive frontiers of North America, as well as globally in the contact zones between cultures.


RESUMEN
En este trabajo se analiza la relación entre el la alternancia de lenguas en las narraciones de Junot Díaz y ciertos recursos formales empleados por artistas del graffiti. Estos elementos revelan una batalla por el estilo discursivo que se libra en las tierras fronterizas de América del Norte, y globalmente en zonas de contacto cultural.

Pasakojimą apie Pompėjus paprastai mėgstu pradėti citata iš klasikinio miesto studijoms skirto Camillo Sitte (1843–1903) veikalo „The City Reader“ , kuriame Pompėjai tampa racionalios miesto erdvės pavyzdžiu, kuriame susipina urbanistinis, topografinis, gamtinis elementai, ir teigia: „Kelionės prisiminimas – šviesiausių svajonių akstinas. Didingi miestai, aikštės, paminklai, kraštovaizdžiai praskrieja pro akis, ir vėl džiugina žavingi ir įspūdingi anksčiau išvysti reginiai. (...) Iš tiesų netrikdomas helėniškų pietų pakrančių lengvabūdiškumas žemutinėje Italijoje ir kiti malonūs kraštai – didžiausios gamtos dovanos, o senieji jų miestai, pastatyti sekant pačios gamtos grožį, sustiprina švelnų ir nenugalimą gamtos poveikį sielai. Tik niekuomet nepajutęs senovinio miesto grožio žmogus galėtų prieštarauti šiai minčiai.“ Greogoris Aldrete pavadino Pompėjus kasdienio romėniško gyvenimo laiko kapsule , suteikiančia progą įsivaizduoti, pajusti miesto kasdienybę.

Unistrokes and Graffiti are stylus-based text entry techniques. While Unistrokes is recognized in academia, Graffiti is commercially prevalent in PDAs. Though numerous studies have investigated the usability of Graffiti, none exists to compare its long-term performance with that of Unistrokes. This paper presents a longitudinal study comparing entry speed, correction rate, stroke duration, and preparation (i.e., inter-stroke) time of these two techniques. Over twenty fifteen-phrase sessions, performance increased from 4.0 wpm to 11.4 wpm for Graffiti and from 4.1 wpm to 15.8 wpm for Unistrokes. Correction rates were high for both techniques. However, rates for Graffiti remained relatively consistent at 26%, while those for Unistrokes decreased from 43 % to 16%.

গ্রাফিতির হাল-হকিকত, এর ফ্যাশন বনাম রেবেল সত্ত্বা, অল্টারনেটিভ নাকি এক্সপোজার পিয়াসী আর্টিস্টদের স্টেপিং স্টোন এবং বিবিধ খুচরা বিষয় নিয়ে এই বছরের গোড়ার দিকে বসা হইছিলো আর্টিস্ট রনি আহম্মেদের সাথে। গ্রাফিতি নিয়ে আলাপ করতে চাইলেও হাইপারটেক্সচুয়াল বাস্তবতার কারণে আলাপ-সালাপ উড়ে বেড়িয়েছে শিল্পের বিভিন্ন মগডালে, শাখা-প্রশাখায়।

Graffiti in Palace of Ludwigsburg - part of the conference about historical Graffiti in Munich 2017. Here a selection of my article.
Flyer of publication: http://www.steiner-verlag.de/fileadmin/Dateien/Steiner/Presseblaetter/9783515122047_f.pdf

Order: http://www.steiner-verlag.de/reihe/view/titel/61548.html

This article is based on ethnographic work with two ‘‘crews’’ of young graffiti artists in southern Mexico
City. The crews share certain characteristics with gangs or urban tribes, but more with ‘‘communities of
practice’’: they live in the ‘‘figured world’’ of graffiti, a community of practice at the local and global level.
Through participation, including observation and the study of fanzines, group members learn the
language, technical and social skills, and values of this figured world. Their reasons to paint and the
topics they express are varied, but authentic expression is fundamental. Graffiti allows these young
people to establish an interesting interplay of identities in the world of graffiti versus their ordinary lives.

עיר שסועה לה יחדיו

מהי יפו? ״מוזיאון הנַכְּבָּה״ / ״פנינת נדל״ן״ / ״כלת פלסטין״ / ״בולגריה הקטנה״ / ״קהילה תורנית מתחדשת״/ ״ג׳נטריפיקציה״? יפו קרועה בין דימויים וכוחות המלווים אותה לאורך מאה שנות המאבק על המקום. איזה סיפור ניתן לספר על העיר ואנשיה?

חוויית העיר היא תמיד חלקית, זמנית ומצבית. כפי שכתב איטאלו קאלוינו בספרו ״הערים הסמויות מעין״: ״העיר אינה אומרת את עברה, אלא מכילה אותו כאילו היה רשת קווים של כף-יד, וכל קטע מחורט אף הוא עצמו בשריטות, בניסורים, בחיתוכים, בפסיקים״.

אני יליד יפו ואנתרופולוג עירוני (“יפולוג”). חזרתי אל בית נעוריי לאחר שנים של מגורים בארה״ב ובאירופה. הבלוג מספר את סיפור העיר מתוך השריטות, החתכים והפצע הפתוח שמסרב להתאחות.

Los conventos novohispanos poseían, desde el siglo XVI, espacios destinados como cárceles para encerrar a religiosos que violaran la Regla o las Constituciones. Estos lugares, conocidos como cárceles, son quizá de los más difíciles de identificar en la actualidad, por ello, su interés reside en saber dónde se encontraban y los aspectos sociales que rodeaban los castigos.
En el convento agustino de Valladolid de Michoacán, cabeza de la Provincia de San Nicolás de Tolentino, existió una cárcel que fue descubierta de manera circunstancial mientras se realizaban algunos trabajos de decoración de un corredor del claustro. Nuestro descubrimiento e importancia del mismo fue comunicado al entonces prior, fray Nicolás Morales, quien tuvo la disposición para que este espacio se conservara.
La cárcel del convento aún guarda muchos secretos, ocultos bajo capas de pintura que algún día serán develados y podremos obtener una mejor idea de la cotidianeidad de la vida de los frailes agustinos en los siglos XVII y XVIII.

La calle es de quien la camina, los stickers de quien los mira. En este ensayo, utilizando elementos diversos como entrevistas, historia, análisis sociológico, filosofía y diseño gráfico, rastrea los orígenes del sticker urbano en México, las razones que tienen los artistas para pegar stickers en las calles y cuales son sus motivaciones. Incluye decenas de fotos de este arte urbano. generalmente incomprendido.

ÖZ

Halktan doğan imgelerin, görsellerin toplumsal anlamları üzerine düşünmek ve onları etnografik bilgi nesnesi olarak kabul etmek kültürü anlamada zengin bir çerçeve sağlamaktadır. Bu bağlamda grafiti ve sokak sanatı hem kendine özgü halk bilgisi olan kültürel bir birim olarak hem de toplumsal kurumlarla ilişkisi bakı-mından değerlendirilmeye uygundur. Kültürel bir ifade biçimi olarak grafiti, 1960'larda kentin imkânlarından yoksun olan gençliğin varlığını ilan etme biçimi olarak New York'ta doğmuştur. Getto mahalleler ve trenlerde başlayan kentsel izler, 1980'lerde dünyanın pek çok kentinde görünürlük kazanmaya başlamış ve bu süreç içe-risinde de hâkim kültürle çeşitli ortaklıklar kurarak günümüze ulaşmıştır. Buna paralel olarak altkültürel doğa-sından uzaklaşmış; "sanat" olma niteliği ile ön plana çıkmıştır. Kendine özgü yordam ve taktikler ile gündelik hayatı yaratıcılıkla dönüştüren bu pratiğin bugün bir tür "ehlileşme" ve popülerleşmeye uğradığı; sanat galeri-leri, müzeler, belediyeler ve çeşitli kuruluşlarla iş birliğinin arttığı söylenebilir. Bu çerçevede çalışmanın ama-cını, söz konusu kültürel alanın Yunanistan'ın başkenti Atina'da nasıl deneyimlendiğini, değişimin yansımala-rını ve üretimdeki dinamikleri anlamak oluşturmaktadır. Bölgedeki kentsel izlerin yoğunluğuna dair medyanın ilgisi, 2008 sonrasında büyüyen politik ve ekonomik kriz atmosferinin grafiti ve sokak sanatı üretimini arttırdı-ğına yönelik akademik çalışmalar, tarihî ve radikal politik hareketlere konu olan, tüm duvarları grafiti ve sokak sanatı ile kaplı Exarchia isimli özgün bir semte sahip olması bu çalışma için Atina'nın seçilmesinin altında yatan sebeplerdir. Araştırmanın örneklemi çerçevesinde etnografik bir yöntem izleyerek Atina'da yaşayan 15 grafiti ve sokak sanatçısıyla derinlemesine görüşmeler ve doğal gözlem yapılmıştır. Saha araştırmasında, Atina grafiti ve sokak sanatının üretimdeki dinamikler ve motivasyonlar açısından melez bir karakterinin olduğu; sosyo-ekonomik yapının çoğunlukla bu kültürel ifade alanının gündemini belirlediği; grafitiden sokak sanatına geçer-ken toplumsal alanda "kabul görme"ye doğru bir gidişatın olduğu anlaşılmaktadır. Sahada aktörlerin her biri, birbirinden farklı motivasyonlarla özgün tarzını yaratmaya ve yarıştırmaya çabalamakta, öte yandan tarzları tüketim kültürünün bir ögesi hâline gelmekte ve piyasa mekanizmasına eklemlenmektedir. Fakat bu durum söz konusu grubun kendine özgü tarz ve kültürünün son bulduğuna değil, oyunun kurallarının değiştiğine işaret etmektedir. Anahtar Kelimeler Grafiti, sokak sanatı, kültür, altkültür, Atina.

ABSTRACT

Thinking about the social meanings of images and visuals arising from the public and accepting them as objects of ethnographic knowledge provides a rich framework for understanding culture. In this context, graffiti and street art are worth considering both as a cultural unit with its own folklore and in terms of its relationship with social institutions. Graffiti as a form of cultural expression was born in New York in the 1960s as a way of proclaiming the existence of youth who were deprived of opportunities in cities. Urban traces that started in ghetto neighborhoods and trains started to gain visibility in many cities of the world in the 1980s and it has reached today by establishing various partnerships with the dominant culture. Parallel to this, it has moved away from its subcultural nature; "art" feature has become prominent. It can be said that this practice, which transforms daily life with creativity with its unique procedures and tactics experiences a kind of "taming" and pop-ularization and cooperation with art galleries, museums, municipalities and various organizations has increased. In this context, the aim of the study is to understand how the relevant cultural area is experienced in Athens, the capital of Greece, the reflections of change and the dynamics in production. Media attention on the density of the urban traces in the region, academic studies demonstrating the effect of growing political and economic crisis after 2008 on the increase of production in graffiti and street art, the neighborhood Exarchia which is the central location of historical and political movements with its walls covered with graffiti and street art are the reasons why Athens was chosen for this study. Within the framework of the sample of the study, an ethnographic

Eesti keelne õppematerjal põhikooli ja gümnaasiumi õpilastele tänavakunsti ja grafiti kujunemisloost. Tänavakunstis kasutatavad tehnikad. 
Tekstifaili lisa on slaidimaterjal, mille leiab Google Drive'i lingilt: https://drive.google.com/file/d/1gZZvhNknmtk47_VOxgPcnKFNgiTt9mXQ/view?usp=sharing
Slaidimaterjal (PDF fail) on illustreerimiseks tunnis kronoloogilist kujunemislugu, mis algab tekstifailis lk. 34. Slaidid on nummerdatud; igale slaidile vastav tekst on tähistatud vastava slaidi numbriga.
Õppematerjal on kasutamiseks kunstikoolide, põhiooli ja gümnaasiumi õpetajatele.

Im öffentlichen Raum sind Mitteilungen an allen möglichen und
unmöglichen Orten zu finden, nicht zuletzt auf den Hosenböden
mancher Passanten. Aber auch an gebauter Infrastruktur finden sich
Mitteilungen: Bilder, Texte und Mischungen aus beidem. Dabei ist
die Lesbarkeit von Bildern und Texten unterschiedlich hoch, da sie
unterschiedliche Mengen kulturellen Vorwissens benötigen.
Graffiti stehen im öffentlichen Raum neben Textilien, Tattoos, Verpackungen und anderen Mitteilungsmedien. Dabei vereint die
Gruppe der En-Passant-Medien die verschiedensten Objekte, mit
deren Hilfe die Präsentation von Themen im öffentlichen Raum auf
den verschiedensten Trägermedien geschieht.

This panel set out to explore the popular and scholarly literature on graffiti and street art, to assess what has been accomplished in these fields, and where scholarly research in the fields of criminology, criminal justice and allied social sciences and humanities must go to better understand these largely urban phenomena.

This paper develops a pragmatist definition of street art acknowledging its essential subversiveness, while drawing implications at the level of street art’s political and social function. By developing an insight from Irvine (2012), the paper argues that street artworks turn inside out accepted norms of visibility in public spaces. Street artists challenge those norms by deploying carnivalesque strategies such as irony and misappropriation (Scott 1990). In this sense, street art is art intrinsically challenging dominant hierarchies of visibility through the use of carnivalesque strategies. By opposing advertising’s dominion over the city walls, they reclaim – one street at a time – the possibility of expressing themselves in public for those generally excluded.

Quelle est la place du graffiti dans l'art, quel rôle joue-t-il dans l'enrichissement artistique d'une ville comme Bruxelles, quels sont ses pratiques, ses véritables artistes ?

De la rue aux galeries, l'auteur analyse tous les parcours en s'appuyant sur une documentation inédite. Richesse et couleur des témoignages recueillis à vif, dans l’esprit même de ces nouveaux codes de lecture imposés par le "street art", passés de l'éphémère à l'indélébile.

« La renaissance du graffiti est-elle nécessaire ? Cet art ne gagne t-il pas à rester dans l'ombre ? On ne résoudra jamais la question de la tolérance du graffiti, parce que l'espace public appartient à tout le monde. Mais il est temps de considérer les graffeurs comme des artistes à part entière quand on passe commande d'un espace public, d'une oeuvre d'art. Il est temps aujourd'hui que notre intérêt pour le graffiti dépasse le socioculturel pour pénétrer dans le champ artistique. »

A télécharger : introduction et conclusion

This chapter looks at street art and its relationship to peace efforts. Specifically, it examines how street art is used as a medium to express the concerns, needs and wants of societal groups whose everyday lives are affected by decisions made at (and by) higher political levels, but whose voices remain marginalised and/or silenced. The fact that this type of artistic intervention takes place in the street means that its message is by definition accessible by a large audience. Depending on the circumstances of each case and the severity of the situation faced by everyday actors, street art interventions may not only manifest instances of injustice or mistreatment, but may also lead to the transformation of the situation through collective action (mobilisation, protest, manifestation). The chapter looks at a few examples where street art has had this type of effect.

Les rapports entre exil et street art sont complexes. D'une part, les artistes de rue ressemblent aux migrants dont le nomadisme perpétuel caractérise le monde contemporain. D'autre part, le street art a ses propres raisons d'être qui ne coïncident pas toujours avec celles d'artistes exilés. Dans ce texte, l'auteur met en examen les corrélations possibles entre le street art et l'exil. Il étudie ensuite des figures d'exil qu'on peut observer dans l’œuvre des artistes de rue.

This thesis focuses on the visual message made by the new Neo-muralist movement in México City, taking as a protagonist the collective of art Germen crew. The study asks: What is the message behind Mexican Neo-muralism, taking into consideration the visual elements involved, such as Indigenous and Pre-Hispanic images in a social context marked by exclusion toward indigenous communities and persons with indigenous background.
The material for this ethnographic study is based upon semi-structured interviews and observations made through fieldwork in México. The collected material is later analyzed by framing theories.
The results made by this study show that Neo-muralism movement is trying to preserve and rebuild denied Indigenous identities through an artistic narrative and non-violent practice. The contribution made by this movement as a non-violent group in resistance has made Neo- muralism the voice of those who have been silenced over time under conditions of exclusion.

Graffiti in the public realms are commonly described as destruction of public and/or private property, and offensive to public taste. But does this dictum also apply to the removal of the same graffiti? Could this not be regarded as iconoclasm — that is, an ideological destruction of a visual image? And does it matter if the graffiti is done with a “good purpose?” The discourse regarding the closely related phenomena of street art—commonly described as creative, amusing and beautiful—points in that direction. And further, who is the we-subject that is abused or amused by graffiti or street art?

Political Protest Graffiti is an increasingly visible form of rhetoric that provides a democratizing space to enable its disenfranchised peoples to articulate their own narratives. As a form of visual activism, the George Floyd Protest Graffiti acts to historically document the tragic sentiment of the collective protest demonstration and testify to political and racial struggles in America. In this essay, I examine the George Floyd Protest Graffiti as a discursive site to analyze how emotions come into play in its production. With a rhetorical power to communicate ideas and influence public debate, I contend that the Floyd cultural graffiti production functions as a system of socio-cultural negotiations and a political call to arms to collapse structural racism in America.

par Elvira GONZÁLEZ et Bernat OLIVER, dans "La pierre comme porteur de messages du chantier de construction et de la vie du bâtiment. Actes du XXIe Colloque International de Glyptographie (du 8 au 14 juillet 2018, Amay, Belgique)"

ISBN 978-2-87457-115-2

Table des matières et détails sur http://www.safran.be/proddetail.php?prod=CIRG2019

1971 Laurea in Filosofia presso l'Università di Catania con una dissertazione su "Paul Th. D'Holbach e il Sistema della natura", con votazione di 110 e lode 1971-75 attività di "esercitatrice" presso la stessa Università 1976-77 contrattista presso l'Università di Messina 1977-81 contrattista presso l'Università di Palermo 1981-92 nel ruolo dei ricercatori confermati presso la stessa Università 1992-2001 professore associato di Storia moderna 2001-professore ordinario di Storia moderna ottobre 2013-ottobre 2016 presidente del Corso di studio in Scienze politiche e delle relazioni internazionali (L36-LM52) In quiescenza dal 1° novembre 2018. In tutti questi anni ha svolto cicli di lezioni e seminari presso la Facoltà di Lettere e Filosofia e di Scienze politiche, ha partecipato e presieduto le commissioni di esami di profitto e di laurea nei vari corsi di laurea; ha preso parte agli organi collegiali, è stata delegata del preside nella Commissione viaggi d'istruzione e responsabile SOCRATES per le sedi di Rennes 2 e Rennes IEP; è stata delegata dal Rettore per l'istituendo Museo del Santo Uffizio. Ha inoltre tenuto lezioni in istituti e centri di formazione e in vari Master 1. Master di Pari Opportunità (Università di Palermo e ARCIDONNA, aprile 2003), 2. Master di Diritto europeo (Università di Palermo, marzo 2004), 3. Master di II livello di specializzazione in Ricerca storica archivistica e documentaria (Università di Catania, Palermo e IMES, aprile 2004), 4. Corso formazione per Assistenti sociali (Fondazione Gaetano Costa, Palermo maggio 2004), 5. Dottorato di ricerca in Storia contemporanea (Università di Catania, 2004), 6. Formazione in servizio per le Pari opportunità (Misura 7) (Educandato Maria Adelaide, Palermo ottobre 2004 e febbraio 2006);

Recent Developments in Sociology and Social Work All parts of this publication are protected by copyright. Any utilization outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. www.e-bwn.com This book is the scholar work of International Association of Social Science Research (IASSR). It is also printed with the financial support from IASSR. The papers are first reviewed by the independent reviewers, and then proofread and edited by the editors. The opinions and views expressed in articles are not necessarily those of this volume's editors.

A wide range of Arabic language variation in form, code choice and orthographic script was wielded by Lebanese political protestors in their graffiti and political placards in Beirut in 2015. That summer, civil protests spilled out into the streets to critique the government inaction over waste management and overall corruption. I will focus on four tactics that highlight a trend towards linguistic transgression and strategic recontextualization of Arabic discourse in these protests: reworking of state iconography; inscribing irreverent spoken dialect in written form; incorporation of hashtag (#) participant and interpretive frameworks ; and the recontextualization of traditional calligraphic forms in new contexts. This paper explores the intertextuality of protest signage and consider the ways in which the transgression of traditional linguistic boundaries might inform understandings of the social dynamics of contemporary politics in Lebanon.

Since the beginning of the 21 st century, art in " publicly accessible spaces " (Bengtsen, 2018: 125) has received significant attention within a number of academic fields, including most recently cognitive semiotics, which integrates methods, models, and theories from semiotics, cognitive science, and (cognitive) linguistics (Zlatev et al, 2016). Street art, graffiti, and urban art as expressive and worldwide phenomena are often considered to be variants of urban creativity (an umbrella term), encompassing several types of art in urban space (Bengtsen, 2018; Stampoulidis, 2016). Here, street art is understood as a visually perceived (un)sanctioned cross-cultural medium addressing socio-political issues and has been chosen due to its all-embracing nature. It typically combines two interacting semiotic systems – language and pictures, and is thus a form of polysemiotic communication (Zlatev and Devylder, forthcoming). By taking into account the interactions between those systems, the attention here, is paid on the expression of metaphorical and/or other potential figurative constructions. To do so, we need to take into account the embodied experiences on some level of universality (based on shared human nature and biology), via historical constraints on the level of shared conventionality and culture-specificity among sign users, unified on the level of contextual creativity and pragmatic communication. The figurative (metaphorical and other) interpretation of street artworks is challenged by our intersubjective lifeworld nature, historical knowledge-based expectancy and experiential ground, linguistic and context-specific information, and further genre conventions (for example, performativity and intertextuality). For this paper, we use data derived from fieldwork research undertaken in central Athens periodically between 2014 and 2017, including photographic documentation and interviews. Along these lines, a further contribution is offered to the questions of 1) how street artworks can be interpreted in the light of metaphorical conceptualizations, and 2) how these are related to the semiotic systems of language and pictures by taking into account their quite frequent interaction.

Talk about street art's democratic impact and ability to encourage people to explore their everyday environments. Given in connection with the opening of Danish photographer Søren Solkær's exhibition "Surface" at Øksnehallen in Copenhagen Denmark.  Based on my book "The Street Art World": https://www.academia.edu/6999602/