Showing papers on "Graffiti published in 1976"

American Graffiti: Effects of Authority and Reactance Arousal

Abstract: High or low threats to subjects' freedom to write on toilet stall walls were attributed to either a high or low authority source. Graffiti written on the threatening placards were directly related to both authority and threat level. The results were inter preted as responses to reactance.arousal. Conceptual problems deal ing with authority are discussed.

Anonymous Expression: A Structural View of Graffiti

Abstract: THE THEMATIC CONTENT OF GRAFFITI has been the focus of considerable social scientific interest and has yielded several explanations. As is characteristic of the work done on the value contents of other media of communication, students of graffiti have looked for a direct reflection of the "collective conscience." For such theorists, a correspondence between cultural values and media pronouncements is implicitly assumed to exist. Within this model, discrepant findings can only mean puzzlement or a drastic revision in the researcher's assessment of the value-system of the culture in question. There seems to be little attention paid to the refracting power that the peculiar characteristics of any medium exercises on the value-system for which it serves as outlet. Thus, there is no recognition that, as we look at culture through the window afforded us by any expressive outlet, what we see has been modified by the peculiar nature of the medium. Hence, at present, explanations of value content tend not to take account of the distorting nature of the medium, and seek instead to establish content as a true reflection of culture.'

Graffiti in the 1970's

Abstract: Summary If graffiti reflect social conventions in the expression of sexuality rather than inherent basic differences in male and female sexuality as Kinsey and others have hypothesized, then the increased emphasis on female sexuality and freedom of expression might be reflected in graffii produced by the younger generation. Four high schools were selected to represent different socioeconomic and racial populations. Graffiti from male and female rest-rooms in each school were copied on 3 × 5 cards for sorting by three independent judges into 16 content categories. The most striking finding was that females wrote more than males, producing 88% of the total graffiti. Content analysis showed that while females predominantly wrote romantic inscriptions, this finding was dependent on socioeconomic level, with upper levels writing less romantic and more erotic material. Race was found to have little or no influence on the likelihood of the amount or content inscribed. The school which had the greatest heterogene...

Graffiti and dipinti

Abstract: Over 3,000 informal inscriptions scratched or painted on pottery, lamps, or other clay fragments have been found in the excavations of the Athenian Agora. In this volume, 859 of these graffiti and dipinti (representing those with sufficient content to be meaningful) are presented in catalogue and drawings. The texts consist of messages and lists, love names and curses, rough calculations, dedications, commercial and tax notations; in short, all manner of fascinating, all-too-human trivia. An introduction to each category defines the type, indicates special characteristics and suggests parallels, purpose, etc. Each example is illustrated in a line drawing with the exception of the tax notations (dipinti); in this case photographs seemed preferable owing to the fugitive medium and the run-on cursive forms. This skillful presentation of an important body of material contributes significantly to the study of informal Greek, especially in regard to letter forms and spelling, as well as to an understanding of the varying commercial practices in ancient Athens.

The Discovery of Graffiti

Abstract: The amusing caricature published in 1833 (Fig. 1) showing three French children being scolded for drawing on a wall is a particularly intriguing document concerning the discovery of graffiti in the early 19th century.1 We notice three associated elements: the caricature itself, the graffiti on the wall, and the naive, primitive drawing style of the children. When the reader of the satirical periodical Caricature saw this image he readily recognized its political meaning: the pear-faces represented Louis-Philippe, the Bourbon King installed in France following the 1830 revolution, whose corpulence and physiognomy suggested the shape of the pear, and whose dullness was further hinted at by the slang meaning of poire, a dummy or dope.2 The cartoonist wanted to make the point that even children responded to the ridiculousness of the King and mocked him in their graffiti.

Black Graffiti: Image and Implications

Abstract: metics industry has made millions by promising to give black women and men a new, sexy image. Successful black publications are picture-oriented in content. Clothing manufacturers have turned the black community into a nation of consumers as they vie with each other to see who can produce the most outlandish and visually stimulating clothing styles. Automobile dealers keep certain styles and colors in their stocks to pander to black customers.

Coptic Graffiti in Speos Artemidos

Abstract: Graffiti (monogramme du Christ avec palme, croix avec croissant, deux figures humaines) se trouvant sur le mur sud du hall hypostyle du temple rupestre d'Hatshepsout et de ToutmosisIII a Speos Artemidos. Decouvertes en 1969 (Finnish Egyptological Society). Publication.