Post-Socialist Political Graffiti in the Balkans and Central Europe (eBook, ePUB)
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This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media.Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nost...
This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media.
Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience.
It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.
Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience.
It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.
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