| Papers [1-15] of 15 | Search results on "GRAFFITI": |
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The Art of Graffiti, 2004.
Examines the history of graffiti, with special focus on a well-known graffiti artist.
1,370 words (approx. 5.5 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper examines the art of graffiti. The author focuses on the history and meaning of street graffiti using the work of one well-known graffiti artist to draw from for examples. The work of world renowned graffiti artist, Cool Disco Dan, is examined and explored.
From the Paper
"If one drives through any inner-city area in the nation one will see graffiti along the walls, subways and sides of buildings. Many people believe that graffiti is little more than gang vandalism, used to tag and mark areas that they believe they ?own,? but with graffiti?s long history and widespread use it represents much more than that. While it is true that some gangs use a tagging process to mark their geography grounds, true graffiti has nothing to do with tagging. Graffiti is an art form and is often referred to as the language of the street."
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Graffiti, 2002.
This paper discusses graffiti as a social phenomena and an art form; "graffiti" is the plural noun form of the word "graffito" which means to scratch, to scribble or to write.
2,482 words (approx. 9.9 pages), 10 sources, MLA, $ 75.95
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Abstract
The paper details the history of graffiti, the taggers (people who make graffiti), the law, the culture, the music, the style, the types and the international appeal. The paper concludes that most graffiti is created from a person?s unique ideas on what looks good to them; therefore, graffiti has to be considered an art form regardless if it is showcased in a museum or on the streets.
From the Paper
"Wanting to be popular among fellow taggers and the rest of their community, taggers had to find ways to become more noticeable than their competitors through the 70?s did. They did this by changing their writing style from standard lettering to more artistic forms of lettering, such as bubble and calligraphy, and by making their tags larger. Making the tags larger was a great task at first because ?the standard nozzle width of a spray can is narrow?. Therefore, taggers began swapping caps from other aerosol products in order to get larger nozzle width. "
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?A Legal and Economic Analysis of Graffiti?, 2005.
This paper analyzes D. J. D'Amico and W. Block's article "A Legal and Economic Analysis of Graffiti", presented at Grove City College (2004), which argues for the legalization of graffiti.
1,735 words (approx. 6.9 pages), 0 sources, $ 56.95
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Abstract
This paper explains that D'Amico (the primary author) commits many logical fallacies throughout his paper thus making his conclusions completely erroneous. The author stresses that the assumption of an unjust government, upon which D'Amico's entire argument hinges, is false because he begins by likening all governments to the "unjust government". D'Amico argues, using the non sequitur that because one has the right or even duty to "abolish" such a government, it follows that one has the right to "deface government property". The paper concludes that D'Amico's entire argument is circular reasoning because he claims that graffiti artists are taking back private property based on the fact that the government has stolen the private property and then he justifies his claim that the government has stolen the private property because it belongs to the graffiti artists who have homesteaded it.
From the Paper
"D'Amico continues to pursue this false analogy by using the "just war theory" to justify graffiti and by doing so commits yet another fallacy. D'Amico admits that, "although the theory applies, explicitly, only to governments, let us she how a non governmental "war" matches up against these criteria." By his own admission, the just war theory explicitly states that it should not be applied to anything other than governments yet D'Amico insists on applying it to graffiti. Governments have the obligation to protect citizens and are thus not acting in its own self interest. This element is something that can never be reproduced in a graffiti artist."
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Graffiti And Art Across Time, 2005.
An examination of modern graffiti and how it compares to high art forms.
678 words (approx. 2.7 pages), 1 source, MLA, $ 23.95
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Abstract
This paper looks at modern graffiti, comparing it and contrasting it to high art forms of the past.
From the Paper
"In 'Art Across Time,' Laurie Schneider Adams considers and explores an art world far removed from snobby galleries and high price tags. By looking at the artistic achievements of the past several centuries she is able to make high art more accessible to the masses and the more recent and popular art movements to seem more worthy of appearing in the same book with older classics. Her history of art begins in the fifteenth century and ends in the twentieth thus making..."
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Cave Painting and Graffiti, 2006.
A discussion on whether cave painting and graffiti can be considered art or a form of communication.
1,070 words (approx. 4.3 pages), 10 sources, MLA, $ 37.95
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Abstract
This paper examines how, from the earliest of times, humankind has used words and symbols to display needs desires and necessities to both the gods and other humans and how, the prehistoric sketches of Paleolithic man and the current scrawls of modern man, while on the surface seem to be absolutely different, are inherently the same. In particular, it compares two works, a red and black bison on the ceiling at Altamira, Spain from 30,000 to 10,000 BC, and a terrier and tic-tac-toe board from the side of a building, New York City, late 1980s AD.
From the Paper
"The composition of the painting, or lack thereof seems to be rather significant in prehistoric art. The lack of connection to the horizon, or anywhere else, denotes some type of religious meaning. Whether this entails simply a celebratory incantation for the fact that the animal lives to provide us with more food, or allows the magic in a shamanic spell to become more powerful against the animals, one has no knowledge. But the art of the caves does not appear to be simple art for art's sake. Christensen says, "It has been suggested that painting may have served as teaching material in which the spoken word, music, dance and masks were involved." (343) The time of Paleolithic man was wild and uncertain, but one could say the same about the current times."
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Tagging and Graffiti, 1993.
A look at the profiles of these "writers," their motivations, methods, social and legal reactions as an art or crime and gangs.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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From the Paper
"Tagging and Graffiti
Public agencies, law enforcement officers, and business people in the nation's urban areas, struggle to keep up with graffiti damage inflicted by the recent nightly tagging activity of gang members. At times it seems like a race against the impossible; some observers even say that graffiti is a social statement or an art form. It is the purpose of this paper to discuss tagging, its role as art and social statement and other related issues of gang activity.
The graffiti movement began in New York City as an illegal, calligraphic, mobile public art in which gang members spray-painted their "tags" (gang names or nicknames) onto subway trains. The best writers or taggers became heros to their friends, and their unusual visual renderings commanded the..."
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Language & Children's Identity, 1996.
Cultural, socioeconomic & sexual aspects of language use in & out of classroom. Bias, graffiti, role of parents.
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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From the Paper
"Language can influence thinking, reasoning, problem solving, and social stereotypes. It allows us to manipulate symbols rather than objects. It directs our attention, as the advertising industry knows very well. It allows us to create detailed plans for the future--we can think ahead in abstract terms. Finally, although the extent to which linguistic differences between cultures results in different ways of thinking and perceiving remains an open question, we can conjecture that language is a powerful social tool for cultural transformation.
Educators, parents, child psychologists, and all socially conscious citizens would do well to heed Benjamin Lee Whorf's (1897-1941) view that language shapes thought. If the young mind is especially malleable, it would appear that language issues..."
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Customized Vintage Purses, 2004.
This paper is a marketing plan fro Personalized Vintage Purses.
1,356 words (approx. 5.4 pages), 3 sources, APA, $ 47.95
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Abstract
This paper describes the product, Personalized Vintage Purses, which use the influences of graffiti, hip hop, punk, pop culture, and retro style to provide customers with wearable art. The author points out the three major marketing problem for this product as being pricing, promotions and locating a place of sale. The paper states that this marketing plan will reflect the desires the target market, guarantee profitability and provide a sustainable competitive advantage.
From the Paper
"Given that marketing is the craft of linking the producers of a product with customers, I know that the creative art of Personalized Vintage Purses will prove to be a success. This blockbuster product will be individual one of a kind and custom-made purses and bags designed to complement a woman's specific wardrobe style and taste. These expressive purses will use the influences of ..."
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Hip-Hop, 2007.
This paper discusses the social-cultural-musical phenomenon called Hip-Hop. circa 1965 to 1985.
1,830 words (approx. 7.3 pages), 10 sources, MLA, $ 58.95
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Abstract
This paper explains that the post-civil rights and black power groups, who witnessed so many radical social changes, provided the attitude and style that gave birth to Hip-Hop. The author points out that MCs (emcees), DJs (deejays), break dancing and graffiti art are considered to be the roots of the movement that empowered urban youths to use music, dance and other forms of artistic expression to describe life as they saw it. The paper stresses that, when listening to today's Hip-Hop and R&B, it is important to remember that many artists from the 1990s, who are still around, do not consider today's Hip-Hip as "tru Hip-Hop".
Table of Contents:
What is Hip-Hop?
Roots of Hip-Hop Culture
Creativity
Bling-Bling?
Wrapping It Up
From the Paper
"Depending on who was the first to be commercialized, one thing that will always be argued is that once Hip-Hop was made into a commodity it needed to be mass-produced. From the top, Hip-Hop artists would sign onto independent labels only because the owners were willing to take a risk. No major record label wanted to sign an artist who could only reach a certain group or community and when signing an artist, companies want to make sure that the artist would be able to sell records to all of America and not just the inner city suburbs."
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Broken Windows Do Not Make or Break Law Enforcement Efforts, 2008.
An examination of the 'broken windows' theory of the causes of crime.
1,135 words (approx. 4.5 pages), 3 sources, APA, $ 39.95
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Abstract
This paper examines the 'broken windows' theory of the causes of crime. The paper explains that 'broken windows' criminology theory maintains that a lack of respect for the physical environment and the law leads to even more socially disruptive criminal activity. The paper points out that the 'broken windows' theory was one of the most highly publicized components of the law-and-order New York City Mayor Rudolph Giuliani's attempt to wage war on crime during the 1990s. The paper then looks at how the theory attempts to attribute the causes of neighborhood decay to ignoring the "little problems" like graffiti, litter, shattered glass, which "creates a sense of irreversible decline" that leads law-abiding residents to abandon their residences and non-criminal prospective residents to stay away from apparently decaying communities.
From the Paper
"However, the presence of committed activists and the joint efforts between the communities and law enforcement may have been one of the causes of the decline in crime, not the more rigorous policing of minor offenses in and of itself. The drop in crime in New York City has a complex array of causes, economic and demographic, as well as sociological and political, and the 'broken windows' enforcement policies may not be the cause of the drop."
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The Case for Youth, 2003.
A look at the utilization of community oriented policing partnerships to reduce formal criminal justice sanctions upon juveniles.
4,506 words (approx. 18.0 pages), 13 sources, APA, $ 117.95
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Abstract
In order to decrease the likelihood of juvenile recidivism, informal criminal justice sanctions, coupled with the proactive partnership capacity of community policing initiatives, is offering law enforcement an alternative solution to juvenile sanctioning. This paper addresses the capacity of community policing partnerships to deter juvenile offending and present several case studies of youth programs in action.
Outline
Abstract
Introduction
Police and Youth
Community Partnership
Case Studies in Community Policing: Youth Initiatives in Action
Graffiti in Redmond, Washington
Comprehensive Truancy Reduction and Child Development Policing Program in Nashville, Tennessee
Police Magnet Schools in Los Angeles, California
Home-Run - School Probation Partnerships in San Bernardino, California
Conclusion
From the Paper
"Law enforcement agencies are being forced to evaluate and revolutionize not only their reactive policing strategies, but also their capacity to proactively battle violence and victimization, as citizens demand safer communities. However, the question remains as to whether police agencies may actually affect the rate of crime in a particular jurisdiction. As author Ian Loader notes, "[A] burgeoning body of criminological research has emphasized the rather limited role the police can play in reducing crime and maintaining social order (Loader, 1997)."
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Youth Gangs in Schools, 2002.
This paper is a literature review of youth gangs in schools, focusing on a historical overview, characteristics and traits of youth gang members and prevention of youth gang membership and activity.
6,020 words (approx. 24.1 pages), 15 sources, APA, $ 142.95
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Abstract
This paper explains that, although youth gang activities in schools continue to increase, intensify and spread to small towns and rural areas, youth gangs are not new. The author believes that,when institutions and moral visions fail, then individuals will try to manufacture structures to replace them; in the case of youth gangs, the creators of these structures are young people, with little experience of the world and little knowledge of alternatives. This paper points out that a common sign of gang activity moving into the neighborhood or into the region of the school is graffiti, which is one of the most common ways for gangs to communicate, identify their turf, issue challenges and attract other adherents.
Table of Contents
Background
Organization of Review
Historical Overview
Characteristics and Traits
Prevention
Rationale for Study
Summary and Conclusions
From the Paper
"This is an important historical development, representing the extension of gang behavior and gang culture into new regions of the country and with new styles. While the gangs may have begun in imitation of such gangs as the Crips and Bloods, and may still wear typical gang clothing and paraphernalia, they are more of an organization of those youth who are prone to violence and delinquent behavior than they are instances of ethnic turf battles. Again, another movie might be helpful in thinking about these kinds of gangs. The movie Grease portrayed a certain class of young teen-agers who had clothing, culture, and behaviors in common. Yet, they were not seen as youth gangs, but as a faction or clique within the overall high school environment. In 1999, however, these greasers are more likely to be organized into youth gangs of the type identified in Puyallup. They have borrowed some of the behavior and culture from the urban gangs, become more organized, and engaged in more conflict between groups. They tend to harass and intimidate the other students."
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'Playing for Keeps' by Robin D. G. Kelley, 2006.
An analysis of Robin D. G. Kelley's article, 'Playing for Keeps' and an in-depth look at the street culture defined by African-American's living in the inner city.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This essay analyzes the article 'Playing for Keeps' by Robin D. G. Kelley. This essay discusses how Kelley examines the meaning of play in mainly African-America inner cities. According to the paper, in this case play is defined as street basketball, street art and street performance, which for many of these youth presents potential labor especially in an economic and social climate that provides little opportunity for fulfilling wage labor. The paper also takes an in-depth look at hip-hop's rap music, graffiti art and break dancing.
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Hate Crimes.
This paper discusses hate crimes and the need for community-focused police.
1,290 words (approx. 5.2 pages), 5 sources, MLA, $ 43.95
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Abstract
This paper explains that, while it cannot be said that every crime involving a perpetrator of one racial or ethnic group and a victim of another is a hate crime, there is this fact to consider: all crime is hate crime. The author points out that, while the merging and blending of ethnic groups has produced a rich culture in America, it also has brought with it many problems because when each ethnic group, struggling to get or retain its part of the American dream, runs into others it fears might hurt its chances of success, conflict can result. The paper relates that community policing efforts should involve citizens in helping to identify crime and quality of life issues and a specific set of theoretical guidelines to help maintain the mission of community policing.
Table of Contents
Introduction
Lynching
Graffiti
Causes of Hate Crimes
Competition for the American Dream
Lack of Understanding and Empathy
Where Police Can Begin
Absence of Harm Concept
Community Sensitivity
Tactics
Invite Community to Help
Restore Trust
Guidelines
Accountability
Respect and Reverence for Life
Conclusion: Community Policing as Healing
From the Paper
"Lack of trust is often an issue, also, as it was in the San Diego City Heights neighborhood. The police department conducted a survey that revealed a lack of trust between neighbors and with the police involved was fear of retaliation,which is certainly both a result and cause of hate crimes. Those fears had influenced the community not to report crimes and to accept the crime and decay as well."
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Hip Hop Culture and Identity, 2005.
A thorough examination of the hip hop culture and its impact on a person's identity.
34,125 words (approx. 136.5 pages), 150 sources, MLA, $ 249.95
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Abstract
This research explores the hip hop culture and its identity. An overview of the current literature is given that reflects the theoretical position of Black culture in the United States. In addition a definition of hip hop and rap is provided, including a discussion of its origins and the current state this art form is in. The influence of the ghetto and hip hop culture is explored at length, as well as the lyrical content of the music. Commercialization of this unique music form is discussed, in addition to hip hop culture's tendency toward visualization as opposed to aural. Finally, hip hop as a global force is reviewed. In the end, it becomes clear that hip hop music is a significant influence on global culture, for Black and non-Black community members and this influence has been facilitated by technology and the drive of capitalism.
Introduction
The History of Hip Hop
Overview of Current Literature Regarding Hip Hop
Defining Hip Hop Culture
The Four Pillars of Hip Hop and Others
The Ghetto, Hip Hop Culture and the Divergent Styles of West Coast and East Coast
East Coast versus West Coast Conflict
Geographical Diversity of Hip Hop Today
Hip Hop and the Jail Culture
Graffiti as a Subversive and Sublime Cultural Arm of Hip Hop
African Americans and Spatial Mobility
The Ghetto Environment and its Effects on the Lyrical Content of Hip Hop
Examination of Lyrical Content in Gangsta Rap Songs
Discussion of Virulent and Caustic Language Within the Sub-Genre of Gangsta Rap
The Double Standard in the World of Gangsters as Demonstrated by Hip Hop
Hip Hop Culture and Misogyny
Hip Hop Culture and the Poetry of the Dispossessed
The Controversy About Selling Out and Hip Hop Culture
Representing the Ghetto
Hip Hop Culture and Sports Marketing
Hip Hop Sales Statistics and the Thug Image for Sales Controversy
Hip Hop as a Force in American Pop Culture and the Displacement of Other Genres of Music
Tastes and Decadence in Hip Hop Culture
The Hip Hop Culture and Political Influence
Hip Hop as a Global Force
References
From the Paper
"Although one may be led to believe that hip hop music is a recent evolution, it relates back to the griots of West Africa, from more than two hundred years ago. The griots were, and in some rural areas still are, storytellers, poets and traveling singers who played an important role in ancient African societies. They used poetry and rhythm to teach the people about their history, as written language was rarely used ("Griot").
One could even argue that hip hop music began even earlier than griots, stemming from the ancient societies of Egypt, as a rich, Black tradition of admiration for rhetoric in both written and spoken form. It is part of the Black rhetorical continuum, as it borrows from and expands a tradition of creative use of language styles and strategies. It was created as rhetoric of resistance primarily to racial discrimination and oppression (Kopano). "
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