Last edited by Vudotaxe
Saturday, October 17, 2020 | History

4 edition of Graffiti, memory and contested space found in the catalog.

Graffiti, memory and contested space

mnemonic initiatives following trauma and/or repression in Buenos Aires, Argentina

by Erin E. Armi Kaipainen

  • 19 Want to read
  • 3 Currently reading

Published by Brock University, M.A. Program in Social Justice and Equity Studies in St. Catharines, Ont .
Written in English

    Subjects:
  • Political persecution -- Argentina -- Buenos Aires.,
  • Graffiti -- Argentina -- Buenos Aires.,
  • Traumatic shock -- Argentina -- Buenos Aires.,
  • Victims of state-sponsored terrorism -- Argentina -- Buenes Aires -- Psychology.

  • Edition Notes

    StatementErin E. Armi Kaipainen.
    The Physical Object
    Paginationxiii, 227 leaves :
    Number of Pages227
    ID Numbers
    Open LibraryOL23360961M

    Find the books you want all in one place and at prices you'll love. Target has all the major genres and best sellers. Free shipping on orders $35+ and save 5% with your RedCard. Graffiti (both singular and plural; the singular graffito is very rare in English except in archeology) is writing or drawings made on a wall or other surface, usually as a form of artistic expression, without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt.

    COMM Dr. Fine Test II: Study Guide In preparation for the Unit II Test please define each term independently and recognize how they combine to create an overall understanding of class and unit content. Refer primarily to our readings, Unit II content contained on File Size: 75KB. Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New particular attention to how race and empire are implicated in the creation and display of national Price: $

      More Info about From Graffiti to Riots: Contested Space in the Renaissance City Book Now Mon 27 Nov, Frank Davis Memorial Lecture Series Protest in Movement: Marching in th. Contested Memory, pt. 3: The Rebel Archive In the previous two essays for this series, I examined how the historical record is constructed through active erasure, and probed at the radical potential that imagination holds for charting black cartographies of : Hilary Malson.


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Graffiti, memory and contested space by Erin E. Armi Kaipainen Download PDF EPUB FB2

Contested Histories in Public Space. brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand.

Paying particular attention to how race and empire are implicated in the creation and display of national 4/5(1).

Graffiti, Memory and Contested Space: Mnemonic Initiatives Following Periods of Trauma and/or Repression in Buenos Aires, Argentina This thesis concerns the popular articulation ofmemory following periods or incidents of trauma in : Erin E. Armi. Kaipainen. In the context of the city space of Cairo in the five years following the Egyptian revolution, I will look on the one side at efforts of activists to preserve the memory of the revolution through graffiti murals and the utilization of public space, and from the other, the authority’s efforts to replace those initiatives with its Cited by:   This article explores three loci of commemoration of 9/11 in New York City: the street memorial exemplified by makeshift shrines, posters of the missing, and graffiti; the museum installations that reflected on these street memorials and on the media's role in our collective experience of 9/11 and its aftermath; and the contested site of the permanent memorial at Ground by: negotiated, contested, confirmed.

By extension, memory is not something found or collected in archives, but something that is made, and continually re-made.” (Cook and Schwartz ). While this paper principally looks at the fate of an individual book associated with war and booty, rather than an archive, Cook’s quote is g: Graffiti.

Written between the ages of sixteen and eighteen, with examinations of anxiety, death, first loves, and first lusts, Graffiti extends a hand to those undergoing the trials and uncertainty of teenagehood, and assures them they're not alone/5.

The painters are working down the hall and as I snapped a few photos of this street art, the one quipped, "We're gonna paint that." This event only secures in my mind that graffiti is a potent form of protest and art.

This small hallway is now an ideological and aesthetically contested space. Furthermore the space could be taken over by a new monument that represents the new regime/movement, in an intentional effort to shape collective memory and identiy [20,49,50].

This Handbook explores the latest cross-disciplinary research on the inter-relationship between memory studies, place, and identity. In the works of dynamic memory, there is room for multiple stories, versions of the past and place understandings, and often resistance to mainstream narratives.

Places may live on long after their physical g: Graffiti. A unique collection of newly written essays by archaeologists working in a variety of contexts and geographical areas, Archaeologies of Memory is a groundbreaking text that presents a coherent framework for the study of memory in past g: Graffiti.

Whether it be the Third Republic in France or the monumental fascist project in Italy, it is about imposing a single writing within public space, exclusive of any other form of writing, that then becomes dubious and contested.7 We will therefore question graffiti as an indicator of the power relations that penetrate the urban space.

Graffiti. Book Description. Intergenerational Space offers insight into the transforming relationships between younger and older members of contemporary chapter selection brings together scholars from around the world in order to address pressing questions both about the nature of contemporary generational divisions as well as the complex ways in which members of different generations are Missing: Graffiti.

Graffiti represents a territorialization of space (‘tagging’, or reclaiming urban spaces through the use of pseudonyms as territorial markings); street art represents a.

Digital Memory and the Archive, the first English-language collection of the German media theorist’s work, brings together essays that present Wolfgang Ernst’s controversial materialist approach to media theory and insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping.

California Mission Landscapes demonstrates how the gardens planted in mission courtyards over the last years are not merely anachronistic but have become potent ideological now no book has explored the mission landscapes as an avenue into understanding the politics of the past, tracing the continuum between the Spanish colonial period, emerging American nationalism, and the Missing: Graffiti.

These contested spaces throughout the western hemisphere were not unclaimed lands waiting to be conquered and populated but a single vast space, occupied by native communities and defined by the meeting, mingling, and clashing of peoples, creating societies unlike any that the world had seen before.

Abstract. The past years have seen a significant shift in the configuration of political space in Thailand, metaphorically and literally. The rudimentary but progressive development of politics along programmatic and ideological fault lines between political and social groups has led to bitter contestations both within the political structure as well as in physical by: 5.

Yet the Piazza was the ideal space for popular protests, ritual contestations, and riots. Although formally excluded from politics, this talk argues that ordinary Venetians used the Piazza’s public space to contest and influence elite politics. “Piecebook: The Secret Drawings of Graffiti Writers” chronicles the evolution of graffiti via images that weren’t intended for everyday people to see, focusing on the works of Germany City writers active from s until the mids.

Bold works from graffiti history’s most important sources or “seeds” - Zephyr, Dondi, Daze, CRASH /5(23). This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse.

It examines the relationship between official and popular history and the constitution of memory Author: Paul Grainge. Europe as a Contested Space and European Cities as Shifting Symbols of Europe Throughout History: Historical Changes in the Spatial Orientation of Europe and Its Images of ‘Europeanness’ The Festival as Heterotopia in the City as Shared Religious SpaceAuthor: Sigrid Rettenbacher.“Contested Memory” is an essay series I recently wrote in fact, provides a template to imagine the production of space not through patriarchal and colonial project trappings [but as] an outlook that a collective of graffiti artists.

17 Heroic figures like Frederick Douglass and Marcus Garvey are depicted alongside the pyramids.Events in August in Charlottesville, Virginia, where white supremacists protested the removal of a Confederate monument led to violence and the death of a counter-protester, raised important issues about history, public memory, and the symbolism of public space.