This article explores how a series of street art images in Tehran which address the restriction of the right of women to enter sports stadiums, challenge the official discourse of femininity within the semiotic landscape of Tehran. It investigates how, through techniques of carnivalesque satire, these images subvert the gender order that dominate the official visual discourse of femininity in urban space. The article proposes that the function of this street art series as a form of resistance is enacted both by its internal generic structure, and in relation to the official mural landscape of the cit
Drawing upon visual ethnographic research carried out in two Spanish cities between 2015 and 2018, t...
Street art has become increasingly common in urban landscapes around the world. As an outgrowth of t...
In Iran, the urban transformation was mostly related to politically motivated uprisings. Not only an...
This article explores how a series of street art images in Tehran which address the restriction of t...
International audienceThis paper is rooted in the photography and observation of Graffiti that prese...
This item was digitized from a paper original and/or a microfilm copy. If you need higher-resolution...
Iranian street murals are mined for insight into the political and religious proclivities of the Isl...
The Taziyeh’s best known form in Iran is the passion play mourning the death of Imam Hussein and his...
Art education is thriving in Iran despite facing obstacles by some conservative Islamic elements. Wo...
Public spaces are the renditions of the power symmetry within the social setting it resides in, and ...
Written in the first person from a female standpoint, WE WOMEN OF TEHRAN illustrates the origins of ...
Images exposed in urban space can express controversial meanings and power relations by contributing...
Focused on modern and contemporary Iranian visual culture, this article traces the shifts from an in...
This thesis is the written component to the art exhibit Women in Iran: Ancient History to Modern Ti...
In mass communication, city walls have always played an important role in being carriers of visual m...
Drawing upon visual ethnographic research carried out in two Spanish cities between 2015 and 2018, t...
Street art has become increasingly common in urban landscapes around the world. As an outgrowth of t...
In Iran, the urban transformation was mostly related to politically motivated uprisings. Not only an...
This article explores how a series of street art images in Tehran which address the restriction of t...
International audienceThis paper is rooted in the photography and observation of Graffiti that prese...
This item was digitized from a paper original and/or a microfilm copy. If you need higher-resolution...
Iranian street murals are mined for insight into the political and religious proclivities of the Isl...
The Taziyeh’s best known form in Iran is the passion play mourning the death of Imam Hussein and his...
Art education is thriving in Iran despite facing obstacles by some conservative Islamic elements. Wo...
Public spaces are the renditions of the power symmetry within the social setting it resides in, and ...
Written in the first person from a female standpoint, WE WOMEN OF TEHRAN illustrates the origins of ...
Images exposed in urban space can express controversial meanings and power relations by contributing...
Focused on modern and contemporary Iranian visual culture, this article traces the shifts from an in...
This thesis is the written component to the art exhibit Women in Iran: Ancient History to Modern Ti...
In mass communication, city walls have always played an important role in being carriers of visual m...
Drawing upon visual ethnographic research carried out in two Spanish cities between 2015 and 2018, t...
Street art has become increasingly common in urban landscapes around the world. As an outgrowth of t...
In Iran, the urban transformation was mostly related to politically motivated uprisings. Not only an...