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Graffiti are ubiquitous within the ancient world, but remain underexploited as a form of archaeological or historical evidence. They include a great variety of texts and images written or drawn inside and outside buildings, in public and private places, on monuments in the city, on objects used in daily life, and on mountains in the countryside. In each case they can be seen as actively engaging with their environment in a variety of ways. Ancient Graffiti in Context interrogates this cultural phenomenon and by doing so, brings it into the mainstream of ancient history and archaeology. Focusing on different approaches to and interpretations of graffiti from a variety of sites and chronological contexts, Baird and Taylor pose a series of questions not previously asked of this evidence, such as: What are graffiti, and how can we interpret them? In what ways, and with whom, do graffiti communicate? To what extent do graffiti represent or subvert the cultural values of the society in which they occur? By comparing themes across time and space, and viewing graffiti in context, this book provides a series of interpretative strategies for scholars and students of the ancient world. As such it will be essential reading for Classical archaeologists and historians alike.
- Sales Rank: #1582971 in Books
- Published on: 2012-07-29
- Released on: 2012-08-02
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .59" w x 6.00" l, .0 pounds
- Binding: Paperback
- 260 pages
Review
"This volume admirably illustrates the various directions the study of graffiti is now taking. Chaniotis' concluding sentence aptly sums up the scholarship on graffiti found in this volume: 'Their study is difficult and challenging, but rewarding and never, ever boring.' (206)." - Judith Lynn Sebesta, Classical World
"This volume as a whole challenges more traditional viewpoints regarding who is scribbling on walls and objects, literacy levels and multilingualism, and the subversive nature of this type of speech act, whilst clearly demonstrating the ubiquitous nature of graffiti...the use of new methodological approaches and the examination of graffiti in a broader chronological and geographical context are thought provoking, and should stimulate future scholarly debate on this subject." - Virginia Campbell, University of Leeds, UK, for the Journal of Hellenic Studies
About the Author
J.A. Baird is Lecturer in Archaeology in the Department of History, Classics, and Archaeology at Birkbeck College, University of London. Her Leverhulme-funded project, Communities on the Frontier, uses archival records and new fieldwork to examine the ancient site of Dura-Europos in Syria from its material and textual remains.
Claire Taylor is Lecturer in Greek History at Trinity College Dublin. She has written on various aspects of fifth and fourth-century Athenian politics and society as well as on the epigraphic culture of non-elite groups. Her currently research explores wealth and poverty in fourth-century Attica.
Most helpful customer reviews
3 of 3 people found the following review helpful.
A New View of Old Graffiti
By Rob Hardy
Go through any city and you will find graffiti written on any available surface. The stuff we see nowadays is usually spray-painted, and while some of it is just stupid and offensive, some has real artistry and style. Graffiti, of course, was not invented along with the spray can. It could famously be found on the walls of Pompeii, and also in Rome and in Egypt, and just about everywhere else in the ancient world. Did it perform the same function of tagging that much graffiti does today? Were the ones making graffiti in ancient days simply Banksy prototypes? Was graffiti a protest by the downtrodden? Was it an eyesore for pedestrians? You can't tell without context, and that is just what a new volume within the Routledge Studies in Ancient History aims to provide. _Ancient Graffiti in Context_ is edited by J. A. Baird, who lectures on archaeology at the University of London, and Claire Taylor, who lectures in Greek History at Trinity College Dublin. It represents presentations at a workshop examining graffiti in 2008, and has chapters from seven other scholars. It explains how our vision of what ancient graffiti means and meant has changed over time, and how we can use context to best understand it.
The book starts with a famous epigraph: "I'm amazed, O wall, that you have not fallen in ruins, you who support the tediousness of so many writers." That was found on a wall in Pompeii, and indicates not only a level of humor but also that there were lots of people writing graffiti (tedious or not). By the time Pompeii was excavated, everyone knew and appreciated the serious and beautiful nature of ancient art and carving, but scratching pictures, sayings, names, or curses into walls was something different. ("Graffiti" literally has to do with scratching a mark into the surface; "dipinti" means marks made by painting, but the former term has become inclusive.) Graffiti has often been consigned to some "lower" interest by academics for several reasons. No one doubts that the official inscriptions in buildings or monuments are worthy of study, but graffiti seems unofficial. In Baird's study of graffiti in Dura-Europos on the Euphrates, she notes that inscriptions on altars that looked like the work of a professional sculptor were subject to study, but those that were obviously done by amateurs (even though they were planned and made in all piety) were too negligible for inclusion as inscriptions at all. Not only was graffiti held to be too lowly for serious study, it was thought to have been made by members of the lower social stratum. More recent work shows that this was not the case. In Pompeii, for instance, the range of graffiti includes political postings, advertisements for sporting events, simple greetings, and metrical poetry, the variety of all types indicating that not just one social stratum participated in the writing. The idea that like recent graffiti, ancient graffiti should be considered some sort of subversive act is also questionable. Graffiti might have been made by the authorities of a city, and some of it is praise of city fathers from grateful citizens. Inscriptions in a marketplace might be less vandalism than, say, a popularly-accepted call for help from deities. Nor should graffiti be always considered defacement; in Pompeii there were scratches on interior walls that seem to have been written and accepted by the inhabitants.
One contributor to the volume quotes Plutarch: "Nothing useful or pleasant is written on the walls; simply that so-and-so commemorates so-and-so wishing him well or that another one is the best of friends." Maybe such inscriptions and such wishes were trivial in the past, but the current volume shows that regarded over time, and classified by locale and style, private or public graffiti can tell us about the societies that produced them. And they can be entertaining in themselves. A wall in the imperial compound of Domus Tiberiana on the Palatine was inscribed: "Much was inscribed [here] by many, I alone inscribed nothing."
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