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A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Raposo, O. (2023). Street art commodification and (an)aesthetic policies on the outskirts of Lisbon. Journal of Contemporary Ethnography. 52 (2), 163-191
Exportar Referência (IEEE) 
O. R. Raposo,  "Street art commodification and (an)aesthetic policies on the outskirts of Lisbon", in Journal of Contemporary Ethnography, vol. 52, no. 2, pp. 163-191, 2023
Exportar BibTeX 
@article{raposo2023_1715027156899,
	author = "Raposo, O.",
	title = "Street art commodification and (an)aesthetic policies on the outskirts of Lisbon",
	journal = "Journal of Contemporary Ethnography",
	year = "2023",
	volume = "52",
	number = "2",
	doi = "10.1177/08912416221079863",
	pages = "163-191",
	url = "https://journals.sagepub.com/doi/full/10.1177/08912416221079863#_i13"
}
Exportar RIS 
TY  - JOUR
TI  - Street art commodification and (an)aesthetic policies on the outskirts of Lisbon
T2  - Journal of Contemporary Ethnography
VL  - 52
IS  - 2
AU  - Raposo, O.
PY  - 2023
SP  - 163-191
SN  - 0891-2416
DO  - 10.1177/08912416221079863
UR  - https://journals.sagepub.com/doi/full/10.1177/08912416221079863#_i13
AB  - In this article, I discuss how street art has become an ally of urban policies molded by the creative city paradigm in marginalized neighborhoods of Lisbon (Portugal). Based on a dense ethnography of a peripheral neighborhood of this Southern European city, I follow the trail left by how public power uses the commodification of street art as an instrument for urban regeneration, touristification, and management of inequalities. The different meanings and interests around this policy are examined in street art festivals and tours, focused on the participation of young people as local guides. This urban policy has changed the negative public image of the neighborhood, with street art being combined with a multicultural experience commodified in guided tours for tourists. However, by ignoring the opinions of the residents on the interventions, this policy follows a top-down approach in which street art aesthetics operate as a device of subjugation and maintenance of the subaltern, beautifying processes of exclusion.
ER  -