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Visualising the right to protest Graffiti and eviction under Thailand's military regime

机译:在泰国的军事制度下,可视化抗议涂鸦和驱逐的权利

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With its vast network of canals, Thailand's capital Bangkok once earned its nickname as 'Venice of the East' during the nineteenth Century. Although many of the 'khlongs' (canals) have long been filled in to form roads, enough remains of their function to stir the hope of the Bangkok Metropolitan Administration (BMA) to 'revive' the city's reputation. Under the plan to modernise the network of waterways and promote water transport as a primary means of transportation, about 50,000 residents along nine canals are required to relocate. After many attempts, the last round of orders by the military government, BMA is finally going ahead with its plan in 2015. From an ethnographic perspective employing visual methods, this paper aims to explore urban interventions through the 'presence' of graffiti in the area of Chumchon Rim-Naam, more generally the relationship between eviction and graffiti under the military government. It pays close attention to sociopolitical discontent and counterculture through the lens of daily class struggle. Moreover, it attempts to examine the experiences of those impacted by eviction and the stories of those canal squatters who are victims of this injustice. For the authority, graffiti that appears to come in the form of a political statement has become more than just a public nuisance. The paper demonstrates that in embracing the concept of visual politics, and to further crystallise their roles in and relationships to the socio-political movement, there is the need to examine the city through visual methods critically. The specificities of visual tools and aesthetic experience in the contentious political times in which we live can and have been utilised strategically and instrumentally to mobilise people's opinions, memories, experiences and their social relationships.
机译:凭借其庞大的运河网络,泰国首都曼谷曾在十九世纪赢得了绰号作为“东方威尼斯”。虽然许多'khlongs'(运河)长期以来一直填充到道路,足够遗骸的遗骸煽动曼谷大都会管理局(BMA)的希望“恢复”城市的声誉。根据计划现代化水道网络,促进水运作为主要运输工具,需要约50,000个运河居民搬迁。经过多次尝试,军事政府的最后一轮订单,BMA最终在2015年继续前进。从雇用视觉方法的民族造影角度来看,本文旨在通过该地区的涂鸦的“存在”探索城市干预措施ChumChon Rim-Naam,更普遍的是军政府在军政府下的驱逐和涂鸦之间的关系。它密切关注通过日常阶级斗标镜头的社会政治不满和对抗。此外,它试图研究受到驱逐影响的人的经验以及那些是这种不公正的受害者的运河南方人的故事。对于管理局,似乎以政治声明形式出现的涂鸦已经不仅仅是公众滋扰。本文表明,在拥抱视觉政治的概念方面,并进一步结晶他们的作用和与社会政治运动的关系,有必要通过视觉方法批判地通过视觉方法来检查城市。视觉工具和审美经验的特殊性在我们生活的有争议的政治时期,并已战略性地和乐于用力地用于动员人们的意见,记忆,经验和社会关系。

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