![]() ![]() “Unlike most modern graffiti, graffiti in ancient Pompeii was a positive form of social exchange,” says epigrapher Rebecca Benefiel of Washington and Lee University. Thousands of examples of a less conspicuous type of ancient graffiti-writings and drawings incised in wall plaster, or occasionally written with more ephemeral materials such as charcoal and chalk-survive today and capture communications among Pompeii’s residents. However, not all messages on Pompeii’s walls were so showy. Some of this graffiti promoted political candidates, while other examples advertised everything from gladiatorial games to rooms for rent. Pompeii graffiti license#Your use of the translations is subject to all use restrictions contained in your Electronic Products License Agreement and by using the translation functionality you agree to forgo any and all claims against ProQuest or its licensors for your use of the translation functionality and any output derived there from.Anyone walking along Pompeii’s busy streets couldn’t help but notice the eye-catching letters painted across many of the city’s houses, shop fronts, and public spaces. PROQUEST AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. The translations are automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. Neither ProQuest nor its licensors make any representations or warranties with respect to the translations. This functionality is provided solely for your convenience and is in no way intended to replace human translation. You have requested "on-the-fly" machine translation of selected content from our databases. The focus of this chapter is very much on the importance of writing and of the cultural and cognitive skills. considers the interdependent contexts of graffiti, with a view to affording the reader a framework for understanding the social structures, architectural elements and cultural practices that produced these inscriptions. This survey delivers a solid foundation for the next chapter, which presents a succinct précis of literature addressing the current state of research, a clear review of methodology relating to geographical, temporal and source limits, and a coherent statement of the book's overarching research focus and underlying assumptions. The book opens with an introductory chapter that effectively synthesises information pertaining to the classification of graffiti (according to form, technique and substantive description), how the epigraphic category of graffiti may be understood in relation to other forms of inscription (public/private, official/unofficial, formal/informal), and in what ways ancient graffiti compare with modern instances of graffiti type and marking practice. L.’s volume is, therefore, a welcome addition to the corpus of German-language studies and to the wider range of scholarship on this genre of inscription. ![]() While publications in English, French and Italian dedicated to the study of graffiti have appeared with increasing frequency over the last 20 years, access to this research from a German perspective has until recently been selective. Pompeii graffiti series#This book is the latest volume in the University of Heidelberg Collaborative Research Centre series Materiale Textkulturen. x + 486, figs, b/w & colour ills, b/w & colour maps. ![]() Geritzte Inschriften in den Wohnhäusern Pompejis. ![]() Lohmann (P.) Graffiti als Interaktionsform. ![]()
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