De olho nos muros: itinerÃrio do graffiti em Fortaleza

• Autor(a) principal: Lara Denise Oliveira Silva
• Data de Publicação: 2014
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFC
• Texto Completo: http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13636
• topic: Cidade; Graffiti; PixaÃÃo; Habitus transgressor; City; Graffiti; PixaÃÃo; Habitus transgressor; SOCIOLOGIA URBANA

This paper has been themed graffiti in the city of Fortaleza and the ramifications of this practice between places, "inside" and "outside" of the landscape scenes that bring those experiences. It is possible define graffiti like figurative images, drawings, letters and names made with spray paint of various colors on walls, bridges, telephone boxes, among other bases, that make up the landscape of large and medium cities, here and abroad. Seen as a marginal activity in the recent past in Brazil, the graffiti is a practice currently allowed by law, although its legalization still bears contradictions. It is being increasingly used by media and advertising, and seems to have attracted the attention of the general population. Within the visions of positive graffiti, identify themselves, commonly, two positions: one that believes that it is an intervention that beautifies the city and according to which it considers that this activity diverts the focus of pixaÃÃo and experiences of crime. It can be said that the graffiti even crossed by different understandings, is one of the languages that make up the street art or urban art, concept art universe comprising the artistic productions that use urban theme and as support. It can also be considered a kind of "urban calligraphy" since the letters also takes place in graffiti, constituting one of its oldest and most favored styles. To occupy the public sphere, the graffiti is part of the list of records murals since prehistory use public areas for communication, protests, declarations etc.. By tracking the routes of graffiti in the city, it was possible to sketch a map of graffiti in Fortaleza identifying itself: how does the choice of local graffiti, graffiti artists who are, in what way are related to the city, as they build their repertoires artistic and how articulate a habitus (Bourdieu, 1993, 2003) specific, named by me transgressor, which is what ensures recognition as graffiti in and out of the scene. The relationship between graffiti and pixaÃÃo was also discussed, revealing the connections that exist between these two practices.