Ancient Graffiti in Context brings together papers by historians and archaeologists using graffiti as evidence to explore the Greek and Roman worlds. Illuminating such varied topics as ancient emotions, Roman children, quarry workers, and military communities, this collection demonstrates the importance of this often undervalued form of evidence.

For ancient societies, graffiti are personal expressions otherwise rare in the archaeological and historical record. This volume is focused around a group of ancient and medieval figural graffiti found in 2015 by an archaeological project of the Kelsey Museum, University of Michigan, at the site of El-Kurru, a royal burial ground in north Sudan.

Milnor considers how the fragments of textual graffiti which survive on the walls of the Roman city of Pompeii reflect and refract the literary world from which they emerged. The volume looks in detail at the role and nature of 'popular' literature in the early Roman Empire and the place of poetry in the Pompeian cityscape.

An in-depth archaeological report featuring graffiti found during a recent excavation at the Ancient Greek city of Smyrna. The graffiti published in this richly-illustrated volume were discovered during an excavation of the Roman basilica in the Ancient Greek city of Smyrna, known today as Izmir, which is situated on the Aegean coast of modern Turkey. The project, which began in 2003, has unearthed a multitude of graffiti and drawings encompassing a wide range of subjects and interests, including local politics, nautical vessels, sex, and wordplay. Each graffito artifact holds the potential for vast historical and cultural data, rescued in this volume from the passage of time and razing ambitions of urban development. Given the city’s history, the potential wealth of knowledge to be gleamed from these discoveries is substantial: Smyrna has an uninterrupted history of settlement since the Neolithic–Copper ages, and remains today a major city and Mediterranean seaport at the crossroads of key trade routes. The present volume provides comprehensive editions of the texts, descriptions of the drawings, and an extensive introduction to the subjects of the graffiti, how they were produced, and who was responsible for them. A complete set of color photographs is included.

In From Document to History: Epigraphic Insights into the Greco-Roman World, editors Carlos Noreña and Nikolaos Papazarkadas gather together an exciting set of original studies on Greek and Roman epigraphy, first presented at the Second North American Congress of Greek and Latin Epigraphy (Berkeley 2016). Chapters range chronologically from the sixth century BCE to the fifth century CE, and geographically from Egypt and Asia Minor to the west European continent and British isles. Key themes include Greek and Roman epigraphies of time, space, and public display, with texts featuring individuals and social groups ranging from Roman emperors, imperial elites, and artists to gladiators, immigrants, laborers, and slaves. Several papers highlight the new technologies that are transforming our understanding of ancient inscriptions, and a number of major new texts are published here for the first time.

What ancient graffiti reveals about the everyday lives of Jews in the Greek and Roman world Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, Writing on the Wall takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.

Ancient graffiti - hundreds of thousands of informal, ephemeral texts spanning millennia - offer a patchwork of fragmentary conversations in a variety of languages spread across the Mediterranean world. Cut, painted, inked or traced in charcoal, the surviving graffiti present a layer of lived experience in the ancient world unavailable from other sources. Graffiti in Antiquity reveals how and why the inhabitants of Greece and Rome - men and women and free and enslaved - formulated written and visual messages about themselves and the world around them as graffiti. The sources - drawn from 800 BCE to 600 CE - are examined both within their individual historical, cultural and archaeological contexts and thematically, allowing for an exploration of social identity in the urban society of the ancient world. An analysis of one of the most lively and engaged forms of personal communication and protest, Graffiti in Antiquity introduces a new way of reading sociocultural relationships among ordinary people living in the ancient world.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

What is graffiti? And why have we, as a culture, had the urge to do it since 30,000 BCE? Artist Fiona McDonald explores the ways in which graffiti works to forever compel and simultaneously repel us as a society. When did graffiti turn into graffiti art, and why do we now pay thousands of dollars for a Banksy print when just twenty years ago, seminal graffiti artists from the Bronx were thrown into jail for having the same idea? Graffiti has not always been imbued with a sense of aesthetic, but when and why did we suddenly “decide” that it is worthy of consideration and criticism, just within the past few years? Throughout history, graffiti has served as an innately individualistic expression (such as Viking graffiti on the walls of eighth-century churches), but it has also evolved into a visual and narrative expression of a collective group. Graffiti brings to mind not only hip-hop culture and urban landscapes, but petroglyphs, tree trunks strewn with carved hearts symbolizing love, and million-dollar works of art. Learn about more graffiti artists and rebels such as: the band Black Flag, Lee Quinones and Fab 5 Freddy, Dandi, Zephyr, Blek le Rat, Nunca, Keith Haring, and more! Illustrated with stunning full-color photos of graffiti throughout time, The Popular History of Graffiti promises to be an important and dynamic addition to graffiti literature.

They may also depict supernatural beings, symbolic and religious objects and many other subjects, usually related to the socio-political and religious lives of the Maya elites. Despite architectural graffiti being broadly present in various Maya sites, they remain a relatively rarely studied phenomenon. Little interest has been shown in this kind of art and Maya graffiti tend to be published as minor appendices to larger archaeological reports. Moreover, in the case of many Maya sites, the graffiti were not even documented or recorded.