Rafaela Cavalcanti - Academia.edu (original) (raw)
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Papers by Rafaela Cavalcanti
African Art: in Southern Africa-From Tradition to …, 1989
ABSTRACT: The rapid development of various transit systems in Kuala Lumpur City has seen the erec... more ABSTRACT: The rapid development of various transit systems in Kuala Lumpur City has seen the erection of stations along the route of these systems. Light rail transit stations should be visible and convenient, that means they have to occur frequently along transit lines. They need to ...
Visual Anthropology, 2010
... In his Lenin and Philosophy and Other Essays . Ben Brewster , ed. and trans . Pp. 136 – 170 .... more ... In his Lenin and Philosophy and Other Essays . Ben Brewster , ed. and trans . Pp. 136 – 170 . ... The street artist Shepard Fairey has made reference to the Situationists, and Guy Debord himself relates Situationist theory to the poster art of May 1968 [Debord 1994]. ...
City, 2010
... as a result.8 Indeed, Dolly's particular phrasingthat POW &#x27... more ... as a result.8 Indeed, Dolly's particular phrasingthat POW 'try to make it seem that it's not all about us grab-bing money' [10 ... or people (à la Bourdieu), but through the relations, functions and activities that shape the production of culture (Nixon and du Gay, 2002; Hesmondhalgh ...
Journal of Consumer Research, 2010
Consumer research has paid scant attention to public goods, especially at a time when the contest... more Consumer research has paid scant attention to public goods, especially at a time when the contestation between categorizing public and private goods and controlling public goods is pronounced. In this multisited ethnography, we explore the ways in which active consumers negotiate meanings about the consumption of a particular public good, public space. Using the context of street art, we document four main ideologies of public space consumption that result from the interaction, both conflict and common intent, of urban dwellers and street artists. We show how public space can be contested as private and commercialized, or offered back as a collective good, where sense of belonging and dialogue restore it to a meaningful place. We demonstrate how the common nature of space both stimulates dialectical and dialogical exchanges across stakeholders and fuels forms of layered agency.
African Art: in Southern Africa-From Tradition to …, 1989
ABSTRACT: The rapid development of various transit systems in Kuala Lumpur City has seen the erec... more ABSTRACT: The rapid development of various transit systems in Kuala Lumpur City has seen the erection of stations along the route of these systems. Light rail transit stations should be visible and convenient, that means they have to occur frequently along transit lines. They need to ...
Visual Anthropology, 2010
... In his Lenin and Philosophy and Other Essays . Ben Brewster , ed. and trans . Pp. 136 – 170 .... more ... In his Lenin and Philosophy and Other Essays . Ben Brewster , ed. and trans . Pp. 136 – 170 . ... The street artist Shepard Fairey has made reference to the Situationists, and Guy Debord himself relates Situationist theory to the poster art of May 1968 [Debord 1994]. ...
City, 2010
... as a result.8 Indeed, Dolly's particular phrasingthat POW &#x27... more ... as a result.8 Indeed, Dolly's particular phrasingthat POW 'try to make it seem that it's not all about us grab-bing money' [10 ... or people (à la Bourdieu), but through the relations, functions and activities that shape the production of culture (Nixon and du Gay, 2002; Hesmondhalgh ...
Journal of Consumer Research, 2010
Consumer research has paid scant attention to public goods, especially at a time when the contest... more Consumer research has paid scant attention to public goods, especially at a time when the contestation between categorizing public and private goods and controlling public goods is pronounced. In this multisited ethnography, we explore the ways in which active consumers negotiate meanings about the consumption of a particular public good, public space. Using the context of street art, we document four main ideologies of public space consumption that result from the interaction, both conflict and common intent, of urban dwellers and street artists. We show how public space can be contested as private and commercialized, or offered back as a collective good, where sense of belonging and dialogue restore it to a meaningful place. We demonstrate how the common nature of space both stimulates dialectical and dialogical exchanges across stakeholders and fuels forms of layered agency.