Detalhes bibliográficos
| Ano de defesa: |
2014 |
| Autor(a) principal: |
Silva, Robson José Romano
 |
| Orientador(a): |
Pinheiro, Amálio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/4663
|
Resumo: |
This research s object of study is the form of expression known as graffiti in the city of Sao Paulo. It will focus on its variations that suggest an instability that reveals itself as the graffiti as a wall art or graffiti as a wall tagging. The general goal is to show the characteristics of the graffiti, present on its constitutive elements and on its constructive techniques. The research problem relates to the inseparability between graffiti and tagging and the consequent marginalization of this latest productive form. In theoretical reasoning, we recurred to Morin, Lotman, Martín-Barbero, Pinheiro, La Plantine, as well as the testimony of renowned graffiti artist Rui Amaral, who treats specifically about the theme and about its cultural elements that are present in this form of artistic expression. The hypothesis is that the process of consolidation of the graffiti art gives an ambivalent, half-breed meaning as it presents itself sometimes in open air, on Sao Paulo s big cities, sometimes in art galleries when, possibly, loses its strongest character, the one of contestation, transgression and insubordination, features very present on the first records of its emergence in movements such as Woodstock. This justifies the research, for it answers to the need of creating academic space of discussion as a possibility to disrupt preconceptions, informing the reader about the object s history, its techniques and specificities that would be, on its own, valuable as a mark of a period in our history expressed as an anonymous form |
