Angelos Chaniotis
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265062
- eISBN:
- 9780191754173
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265062.003.0014
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter explores how the gamut of responses to the presence of an inscription has to include not just sight and touch but also imagination and vocalisation. Being meant to be read aloud, they ...
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This chapter explores how the gamut of responses to the presence of an inscription has to include not just sight and touch but also imagination and vocalisation. Being meant to be read aloud, they convey a reader's voice as well as that of the inscription itself or that of the dead person commemorated on a gravestone. Even more immediate is the potential impact when a person's actual words are preserved and displayed. They may be in direct speech, illustrated by letters and confessions, or in indirect speech as records of manumissions, minutes of meetings, or jokes. They may alternatively be performative speech, in the form of acclamations, formal declarations, oaths, prayers or hymns; and can equally be reports of oral events such as meetings or even public demonstrations. They can also be couched in various forms of emotional language, whether uttered by individuals (graffiti, prayers or the edicts of angry rulers) or more collectively and formally in secular or religious acclamations, and even in decrees of state. A final section emphasises the need for practitioners of the discipline of epigraphy to be missionaries — to spread the word about the value of visible words.Less
This chapter explores how the gamut of responses to the presence of an inscription has to include not just sight and touch but also imagination and vocalisation. Being meant to be read aloud, they convey a reader's voice as well as that of the inscription itself or that of the dead person commemorated on a gravestone. Even more immediate is the potential impact when a person's actual words are preserved and displayed. They may be in direct speech, illustrated by letters and confessions, or in indirect speech as records of manumissions, minutes of meetings, or jokes. They may alternatively be performative speech, in the form of acclamations, formal declarations, oaths, prayers or hymns; and can equally be reports of oral events such as meetings or even public demonstrations. They can also be couched in various forms of emotional language, whether uttered by individuals (graffiti, prayers or the edicts of angry rulers) or more collectively and formally in secular or religious acclamations, and even in decrees of state. A final section emphasises the need for practitioners of the discipline of epigraphy to be missionaries — to spread the word about the value of visible words.
Anna J. Clark
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199226825
- eISBN:
- 9780191710278
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199226825.003.0007
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter first draws together conclusions about the range of claims and counter‐claims made about divine qualities during the Republican period by individuals and groups from a range of social ...
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This chapter first draws together conclusions about the range of claims and counter‐claims made about divine qualities during the Republican period by individuals and groups from a range of social strata. It highlights the importance both of physical resources and of oral culture in the ways the cognitive vocabulary of divine qualities was used in Republican society. It then explores engagements with such qualities in the early empire. The capacity to restrict meanings and associations increased with the existence of an imperial family, but divine qualities also continued to be important in this period because alternative readings and associations could still be made, and such qualities were useful to senators and other people as well as to emperors. Imperial case studies include episodes found in Suetonius, Tacitus, and Dio, acclamations, Pompeian graffiti, ships, slave names, and the tomb of Claudia Semne.Less
This chapter first draws together conclusions about the range of claims and counter‐claims made about divine qualities during the Republican period by individuals and groups from a range of social strata. It highlights the importance both of physical resources and of oral culture in the ways the cognitive vocabulary of divine qualities was used in Republican society. It then explores engagements with such qualities in the early empire. The capacity to restrict meanings and associations increased with the existence of an imperial family, but divine qualities also continued to be important in this period because alternative readings and associations could still be made, and such qualities were useful to senators and other people as well as to emperors. Imperial case studies include episodes found in Suetonius, Tacitus, and Dio, acclamations, Pompeian graffiti, ships, slave names, and the tomb of Claudia Semne.
John Baxter
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126012
- eISBN:
- 9780813135601
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126012.003.0003
- Subject:
- Film, Television and Radio, Film
Jonas claimed to be indifferent, as he was to the men who pressed themselves against him on crowded streetcars. Obscene graffiti gave him knowledge of anatomy, which improved when he gathered in a ...
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Jonas claimed to be indifferent, as he was to the men who pressed themselves against him on crowded streetcars. Obscene graffiti gave him knowledge of anatomy, which improved when he gathered in a cellar with some other boys to watch a girl on a swing show herself naked under her skirt. He had a few brushes with homosexuality. Because his work deals so frequently but often obliquely with sex, this has invited speculation about von Sternberg's sexuality. Superficially, he was almost obsessively heterosexual.Less
Jonas claimed to be indifferent, as he was to the men who pressed themselves against him on crowded streetcars. Obscene graffiti gave him knowledge of anatomy, which improved when he gathered in a cellar with some other boys to watch a girl on a swing show herself naked under her skirt. He had a few brushes with homosexuality. Because his work deals so frequently but often obliquely with sex, this has invited speculation about von Sternberg's sexuality. Superficially, he was almost obsessively heterosexual.
Filippo De Vivo
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780199227068
- eISBN:
- 9780191711114
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199227068.003.0005
- Subject:
- History, European Early Modern History
Each of the communication spheres presented so far also needed to communicate with the others. This chapter analyses their contacts and conflicts. First, it discusses the interaction between literate ...
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Each of the communication spheres presented so far also needed to communicate with the others. This chapter analyses their contacts and conflicts. First, it discusses the interaction between literate and oral communication, suggesting that literacy was itself a drive for social transactions. It then addresses the official publication of laws and decrees: for all its secretiveness, the government's authority rested on its capacity to reach out to the subjects. Yet official publication also often led to resistance, as people prevented publication and destroyed decrees. Thus, normative messages never dominated the city's public space, but had to compete with alternative forms of public communication, for example graffiti and posted texts (Venice's equivalent of the Roman pasquinades). The chapter concludes with a case study of one such texts, the Paternoster degli Spagnoli, which circulated widely during the French wars of religion and beyond, as a critical parody of political domination.Less
Each of the communication spheres presented so far also needed to communicate with the others. This chapter analyses their contacts and conflicts. First, it discusses the interaction between literate and oral communication, suggesting that literacy was itself a drive for social transactions. It then addresses the official publication of laws and decrees: for all its secretiveness, the government's authority rested on its capacity to reach out to the subjects. Yet official publication also often led to resistance, as people prevented publication and destroyed decrees. Thus, normative messages never dominated the city's public space, but had to compete with alternative forms of public communication, for example graffiti and posted texts (Venice's equivalent of the Roman pasquinades). The chapter concludes with a case study of one such texts, the Paternoster degli Spagnoli, which circulated widely during the French wars of religion and beyond, as a critical parody of political domination.
Jane Stevenson
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780198185024
- eISBN:
- 9780191714238
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198185024.003.0004
- Subject:
- Literature, Women's Literature
The case for epigraphy as a source for women's verse production in Imperial Rome is considered. Evidence for women's literacy in the Roman empire, including non-literary sources such as graffiti and ...
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The case for epigraphy as a source for women's verse production in Imperial Rome is considered. Evidence for women's literacy in the Roman empire, including non-literary sources such as graffiti and curse-tablets, is presented. The circumstances of production of epigraphic poetry are examined. The chapter also considers a variety of specific poems attributed to women, and the evidence they reveal of interpersonal relations, particularly Terentia's poem on the death of her brother.Less
The case for epigraphy as a source for women's verse production in Imperial Rome is considered. Evidence for women's literacy in the Roman empire, including non-literary sources such as graffiti and curse-tablets, is presented. The circumstances of production of epigraphic poetry are examined. The chapter also considers a variety of specific poems attributed to women, and the evidence they reveal of interpersonal relations, particularly Terentia's poem on the death of her brother.
David Ashford
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781846318597
- eISBN:
- 9781846318016
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846318597.001.0000
- Subject:
- Society and Culture, Cultural Studies
Engaging with the rich catalogue of cultural material relating to the London Underground, this cultural geography sets out to explore one of the strangest spaces of the modern world. The first to ...
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Engaging with the rich catalogue of cultural material relating to the London Underground, this cultural geography sets out to explore one of the strangest spaces of the modern world. The first to complete that slow process of estrangement from the natural topography initiated by the Industrial Revolution, London Underground is shown to be what French anthropologist Marc Augé has called non-lieu: non-places, like the motorway, supermarket or airport lounge, compelled to interpret their relation to the invisible landscapes they traverse through the media of signs and maps. The tube-network is revealed to be a transitional form, linking spaces of alienation in Victorian England, such as the railway, and the fully virtual spaces of our contemporary consumer-capitalism. This history of alienation, and of the bold struggle to overcome it, recounted in London Underground: a cultural geography, is nothing less than the history of how people have attempted to make a home in the psychopathological spaces of the modern world. London Underground: a cultural geography taps the current enthusiasm for cultural history, for psychogeography, for books on modern urban space, and for all things relating to London, providing an account of the system's representation and reshaping in fiction, film, art, music, graffiti, connecting the long history of the tube-network to wider theoretical concerns relating to the Victorian City, Cultural Geography, Modernism, Post-modernism and Situationist Theory.Less
Engaging with the rich catalogue of cultural material relating to the London Underground, this cultural geography sets out to explore one of the strangest spaces of the modern world. The first to complete that slow process of estrangement from the natural topography initiated by the Industrial Revolution, London Underground is shown to be what French anthropologist Marc Augé has called non-lieu: non-places, like the motorway, supermarket or airport lounge, compelled to interpret their relation to the invisible landscapes they traverse through the media of signs and maps. The tube-network is revealed to be a transitional form, linking spaces of alienation in Victorian England, such as the railway, and the fully virtual spaces of our contemporary consumer-capitalism. This history of alienation, and of the bold struggle to overcome it, recounted in London Underground: a cultural geography, is nothing less than the history of how people have attempted to make a home in the psychopathological spaces of the modern world. London Underground: a cultural geography taps the current enthusiasm for cultural history, for psychogeography, for books on modern urban space, and for all things relating to London, providing an account of the system's representation and reshaping in fiction, film, art, music, graffiti, connecting the long history of the tube-network to wider theoretical concerns relating to the Victorian City, Cultural Geography, Modernism, Post-modernism and Situationist Theory.
Patrick Major
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199243280
- eISBN:
- 9780191714061
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199243280.003.0009
- Subject:
- History, European Modern History
Considers how the Wall has thrown shadows into the post‐1989 era, both in the wave of nostalgic and critical films and novels, but also in the trials of border guards which took place in the 1990s. ...
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Considers how the Wall has thrown shadows into the post‐1989 era, both in the wave of nostalgic and critical films and novels, but also in the trials of border guards which took place in the 1990s. The bulk of the chapter concerns the politics surrounding memorials to the Wall. The aestheticization of the Wall through graffiti before its fall reflected a ‘western’ vision of the edifice as Cold War absurdity, but also a message board for an eclectic range of libertarian causes. Likewise, the artistic commemoration of the Wall since 1989 has been driven largely be western architects who have sometimes unwittingly prioritized the Wall ‘under western eyes'; for instance in marking in Berlin's pavements the line where the western ‘frontline’ wall ran, rather than the eastern wall which confronted East Germans. This final chapter reinforces the book's overall message of looking at the Wall with eastern eyes, both those of the party, but those of ordinary East Germans caught up in a system of real and invisible walls which deeply marked their life stories.Less
Considers how the Wall has thrown shadows into the post‐1989 era, both in the wave of nostalgic and critical films and novels, but also in the trials of border guards which took place in the 1990s. The bulk of the chapter concerns the politics surrounding memorials to the Wall. The aestheticization of the Wall through graffiti before its fall reflected a ‘western’ vision of the edifice as Cold War absurdity, but also a message board for an eclectic range of libertarian causes. Likewise, the artistic commemoration of the Wall since 1989 has been driven largely be western architects who have sometimes unwittingly prioritized the Wall ‘under western eyes'; for instance in marking in Berlin's pavements the line where the western ‘frontline’ wall ran, rather than the eastern wall which confronted East Germans. This final chapter reinforces the book's overall message of looking at the Wall with eastern eyes, both those of the party, but those of ordinary East Germans caught up in a system of real and invisible walls which deeply marked their life stories.
Karen B. Stern
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780691161334
- eISBN:
- 9781400890453
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161334.001.0001
- Subject:
- Religion, Judaism
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 ...
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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, this book 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. This book 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, the book 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, the book provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.Less
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, this book 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. This book 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, the book 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, the book provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.
Jessica Nydia Pabón-Colón
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781479806157
- eISBN:
- 9781479847426
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479806157.001.0001
- Subject:
- Sociology, Law, Crime and Deviance
Since the dawn of Hip Hop graffiti writing in the late ‘60s, graffiti writers have inscribed their tag names on cityscapes across the globe to claim public space and mark their presence. In the ...
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Since the dawn of Hip Hop graffiti writing in the late ‘60s, graffiti writers have inscribed their tag names on cityscapes across the globe to claim public space and mark their presence. In the absence of knowing the writer’s identity, the onlooker’s imagination defaults to the gendered, classed, and racialized conventions framing a public act that requires bodily strength and a willingness to take legal, social, and physical risks. Graffiti subculture is thus imagined as a “boys club” and consequently the graffiti grrlz fade from the social imagination. Utilizing a queer feminist perspective, this book is a transnational ethnography that tells an alternative story about Hip Hop graffiti subculture from the vantage point of over 100 women who write graffiti in 23 countries. Grounded in 15 years of research, each chapter examines a different site and process of transformation. Under the radar of feminist movement, they’ve remodeled Hip Hop masculinity, created an affective digital network, challenged androcentric graffiti history and reshaped subcultural memory, sustained all-grrl community, and strategically deployed femininity to transform their subcultural precarity. By performing feminism across the diaspora, graffiti grrlz have elevated their subcultural status and resisted hetero/sexist patriarchal oppression.Less
Since the dawn of Hip Hop graffiti writing in the late ‘60s, graffiti writers have inscribed their tag names on cityscapes across the globe to claim public space and mark their presence. In the absence of knowing the writer’s identity, the onlooker’s imagination defaults to the gendered, classed, and racialized conventions framing a public act that requires bodily strength and a willingness to take legal, social, and physical risks. Graffiti subculture is thus imagined as a “boys club” and consequently the graffiti grrlz fade from the social imagination. Utilizing a queer feminist perspective, this book is a transnational ethnography that tells an alternative story about Hip Hop graffiti subculture from the vantage point of over 100 women who write graffiti in 23 countries. Grounded in 15 years of research, each chapter examines a different site and process of transformation. Under the radar of feminist movement, they’ve remodeled Hip Hop masculinity, created an affective digital network, challenged androcentric graffiti history and reshaped subcultural memory, sustained all-grrl community, and strategically deployed femininity to transform their subcultural precarity. By performing feminism across the diaspora, graffiti grrlz have elevated their subcultural status and resisted hetero/sexist patriarchal oppression.
Anne Marie Oliver and Paul F. Steinberg
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195305593
- eISBN:
- 9780199850815
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305593.003.0022
- Subject:
- Religion, Islam
Intifada graffiti was preoccupied with things such as announcements of strike days, instructions on boycotts and demonstrations. The intifada was young and people hadn't yet learned what they were ...
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Intifada graffiti was preoccupied with things such as announcements of strike days, instructions on boycotts and demonstrations. The intifada was young and people hadn't yet learned what they were supposed to be doing and thinking. Many of the slogans of the intifada can be traced at least as far back as the Palestinian revolts of 1929 and 1936 and the war of 1948. Al–Ansari holds a particularly high place of honor in the Islamic pantheon of martyrs because he lent Islamic ritual form to the act of dying in the hands of one's enemy.Less
Intifada graffiti was preoccupied with things such as announcements of strike days, instructions on boycotts and demonstrations. The intifada was young and people hadn't yet learned what they were supposed to be doing and thinking. Many of the slogans of the intifada can be traced at least as far back as the Palestinian revolts of 1929 and 1936 and the war of 1948. Al–Ansari holds a particularly high place of honor in the Islamic pantheon of martyrs because he lent Islamic ritual form to the act of dying in the hands of one's enemy.
Ivy G. Wilson
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195337372
- eISBN:
- 9780199896929
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337372.003.0007
- Subject:
- Literature, African-American Literature, American, 19th Century Literature
This chapter interrogates the idea of visuality in Herman Melville's short story “Benito Cereno” (1855) by examining the arrangement of space about the slave ship San Dominick. Turning away from the ...
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This chapter interrogates the idea of visuality in Herman Melville's short story “Benito Cereno” (1855) by examining the arrangement of space about the slave ship San Dominick. Turning away from the prevailing New Historicist readings, it argues that the text's fraught aesthetic sensibility needs to be correlated to the ambiguous social position of the African slaves. In Melville's story, the Spanish ship is riddled with improperly placed things, half-finished pieces of art, rude performances, and graffiti scrawling. “Benito Cereno” is best understood through its staging of art that are put into high relief if one thinks about the Africans as curators of sorts; the story sets the American Captain Delano's desire to restore law and order against the statelessness of the slaves whose insurrection is fashioned as a veritable example of Outsider Art.Less
This chapter interrogates the idea of visuality in Herman Melville's short story “Benito Cereno” (1855) by examining the arrangement of space about the slave ship San Dominick. Turning away from the prevailing New Historicist readings, it argues that the text's fraught aesthetic sensibility needs to be correlated to the ambiguous social position of the African slaves. In Melville's story, the Spanish ship is riddled with improperly placed things, half-finished pieces of art, rude performances, and graffiti scrawling. “Benito Cereno” is best understood through its staging of art that are put into high relief if one thinks about the Africans as curators of sorts; the story sets the American Captain Delano's desire to restore law and order against the statelessness of the slaves whose insurrection is fashioned as a veritable example of Outsider Art.
Camilo D. Trumper
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520289901
- eISBN:
- 9780520964303
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520289901.003.0008
- Subject:
- History, Latin American History
The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship ...
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The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.Less
The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.
Karen B. Stern
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780691161334
- eISBN:
- 9781400890453
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161334.003.0002
- Subject:
- Religion, Judaism
This chapter examines how graffiti was inscribed and painted by ancient Jews to communicate with and about the divine. It begins with a discussion of paintings and carvings that cover the surfaces of ...
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This chapter examines how graffiti was inscribed and painted by ancient Jews to communicate with and about the divine. It begins with a discussion of paintings and carvings that cover the surfaces of the Church of the Holy Sepulchre—revered by many Christians as the site where Jesus was crucified and buried—and serve as physical vestiges of pilgrims' devotions, rather than marks of defacement. It then considers common assumptions that govern studies of ancient Jewish prayer before analyzing Aramaic and Greek signature and remembrance graffiti in the Dura-Europos synagogue and elsewhere in Dura, as well as devotional graffiti written by Jews in shrines shared by pagans and Christians, such as Elijah's Cave. The chapter suggests that certain acts of graffiti writing are in reality modes of prayer conducted by Jews and their neighbors alike, and that ancient Jews prayed in a variety of built and natural environments.Less
This chapter examines how graffiti was inscribed and painted by ancient Jews to communicate with and about the divine. It begins with a discussion of paintings and carvings that cover the surfaces of the Church of the Holy Sepulchre—revered by many Christians as the site where Jesus was crucified and buried—and serve as physical vestiges of pilgrims' devotions, rather than marks of defacement. It then considers common assumptions that govern studies of ancient Jewish prayer before analyzing Aramaic and Greek signature and remembrance graffiti in the Dura-Europos synagogue and elsewhere in Dura, as well as devotional graffiti written by Jews in shrines shared by pagans and Christians, such as Elijah's Cave. The chapter suggests that certain acts of graffiti writing are in reality modes of prayer conducted by Jews and their neighbors alike, and that ancient Jews prayed in a variety of built and natural environments.
Karen B. Stern
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780691161334
- eISBN:
- 9781400890453
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161334.003.0004
- Subject:
- Religion, Judaism
This chapter examines graffiti associated with the public lives of Jews from Tyre and Asia Minor, showing that they serve as evidence of Jewish participation in public entertainments in the ...
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This chapter examines graffiti associated with the public lives of Jews from Tyre and Asia Minor, showing that they serve as evidence of Jewish participation in public entertainments in the Greco-Roman world. When Jews and their neighbors inscribed graffiti in structures such as theaters and hippodromes, they activated their participation in public spectacles and public life. Numerous examples of public graffiti can be found in theaters and in the ancient city of Aphrodisias, while commercial graffiti exist in the reused Sebasteion and the so-called South Agora, also in Aphrodisias. These markings, the chapter argues, reveal that during periods of burgeoning anti-Jewish legislation and religious polemic, Jews reserved seats for themselves as spectators of public entertainments and drew menorahs where they sold their wares in public markets. They even attest to the presence of Jewish women in commercial settings.Less
This chapter examines graffiti associated with the public lives of Jews from Tyre and Asia Minor, showing that they serve as evidence of Jewish participation in public entertainments in the Greco-Roman world. When Jews and their neighbors inscribed graffiti in structures such as theaters and hippodromes, they activated their participation in public spectacles and public life. Numerous examples of public graffiti can be found in theaters and in the ancient city of Aphrodisias, while commercial graffiti exist in the reused Sebasteion and the so-called South Agora, also in Aphrodisias. These markings, the chapter argues, reveal that during periods of burgeoning anti-Jewish legislation and religious polemic, Jews reserved seats for themselves as spectators of public entertainments and drew menorahs where they sold their wares in public markets. They even attest to the presence of Jewish women in commercial settings.
Ann Koloski-Ostrow
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469621289
- eISBN:
- 9781469623269
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469621289.001.0001
- Subject:
- Classical Studies, Archaeology: Classical
The Romans developed sophisticated methods for managing hygiene, including aqueducts for moving water from one place to another, sewers for removing used water from baths and runoff from walkways and ...
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The Romans developed sophisticated methods for managing hygiene, including aqueducts for moving water from one place to another, sewers for removing used water from baths and runoff from walkways and roads, and public and private latrines. Through the archaeological record, graffiti, sanitation-related paintings, and literature, this book explores this little-known world of bathrooms and sewers, offering unique insights into Roman sanitation, engineering, urban planning and development, hygiene, and public health. Focusing on the cities of Pompeii, Herculaneum, Ostia, and Rome, this work challenges common perceptions of Romans’ social customs, beliefs about health, tolerance for filth in their cities, and attitudes toward privacy. In charting the complex history of sanitary customs from the late republic to the early empire, the book reveals the origins of waste removal technologies and their implications for urban health, past and present.Less
The Romans developed sophisticated methods for managing hygiene, including aqueducts for moving water from one place to another, sewers for removing used water from baths and runoff from walkways and roads, and public and private latrines. Through the archaeological record, graffiti, sanitation-related paintings, and literature, this book explores this little-known world of bathrooms and sewers, offering unique insights into Roman sanitation, engineering, urban planning and development, hygiene, and public health. Focusing on the cities of Pompeii, Herculaneum, Ostia, and Rome, this work challenges common perceptions of Romans’ social customs, beliefs about health, tolerance for filth in their cities, and attitudes toward privacy. In charting the complex history of sanitary customs from the late republic to the early empire, the book reveals the origins of waste removal technologies and their implications for urban health, past and present.
Heba Salem and Kantaro Taira
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789774165337
- eISBN:
- 9781617971303
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774165337.003.0005
- Subject:
- Society and Culture, Middle Eastern Studies
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product ...
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Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.Less
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.
Jessica Nydia Pabón-Colón
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781479806157
- eISBN:
- 9781479847426
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479806157.003.0001
- Subject:
- Sociology, Law, Crime and Deviance
This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a ...
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This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.Less
This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.
Frances Smith
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474413091
- eISBN:
- 9781474438452
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413091.003.0005
- Subject:
- Film, Television and Radio, Film
Throughout this book, it has been clear that the Hollywood teen movie has close links with the youth culture of its time. Yet as this chapter will demonstrate, this equation between contemporary ...
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Throughout this book, it has been clear that the Hollywood teen movie has close links with the youth culture of its time. Yet as this chapter will demonstrate, this equation between contemporary youth culture and the Hollywood films that claim to represent it is not nearly as clear-cut as one might expect. For Timothy Shary, the genre is trapped in a peculiar double bind that determines its relationship with the past: while film-makers aggressively target a youth audience, young people themselves lack the experience or means to produce amass-market feature film, as a result of which, these representations of youth are ‘filtered through an adult lens’. An oblique refraction of the youth culture of the past – often that of the director themselves – can therefore be regarded as a central feature of the genre as a whole.Less
Throughout this book, it has been clear that the Hollywood teen movie has close links with the youth culture of its time. Yet as this chapter will demonstrate, this equation between contemporary youth culture and the Hollywood films that claim to represent it is not nearly as clear-cut as one might expect. For Timothy Shary, the genre is trapped in a peculiar double bind that determines its relationship with the past: while film-makers aggressively target a youth audience, young people themselves lack the experience or means to produce amass-market feature film, as a result of which, these representations of youth are ‘filtered through an adult lens’. An oblique refraction of the youth culture of the past – often that of the director themselves – can therefore be regarded as a central feature of the genre as a whole.
Siobhán Shilton
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941138
- eISBN:
- 9781789629255
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941138.003.0014
- Subject:
- History, Cultural History
The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these ...
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The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘difference’, into the public spaces of the French capital? How does he use public sites within and beyond France? How does the digital online presence of his multi-sited ephemeral work signal new means of evoking cultural identity and of interpolating diversely located spectators?Less
The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘difference’, into the public spaces of the French capital? How does he use public sites within and beyond France? How does the digital online presence of his multi-sited ephemeral work signal new means of evoking cultural identity and of interpolating diversely located spectators?
John Baxter
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126012
- eISBN:
- 9780813135601
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126012.003.0010
- Subject:
- Film, Television and Radio, Film
Von Sternberg worked on the scenario with Alice D. G. Miller, daughter of the better-known Alice Duer Miller. With Florey as “technical adviser,” von Sternberg tried to instill some French atmosphere ...
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Von Sternberg worked on the scenario with Alice D. G. Miller, daughter of the better-known Alice Duer Miller. With Florey as “technical adviser,” von Sternberg tried to instill some French atmosphere into the film. Although they visited Quebec to scout locations, MGM insisted on recycling a chateau set left over from 1923's In the Palace of the King. The rest was shot in a village mocked up on the back lot. Von Sternberg did his best to personalize the sets, pasting up posters and daubing walls with graffiti. He went public on August 12, 1925 in the Los Angeles Times. He was given very little choice in the selection of his story or the cast. With time on his hands, he continued writing.Less
Von Sternberg worked on the scenario with Alice D. G. Miller, daughter of the better-known Alice Duer Miller. With Florey as “technical adviser,” von Sternberg tried to instill some French atmosphere into the film. Although they visited Quebec to scout locations, MGM insisted on recycling a chateau set left over from 1923's In the Palace of the King. The rest was shot in a village mocked up on the back lot. Von Sternberg did his best to personalize the sets, pasting up posters and daubing walls with graffiti. He went public on August 12, 1925 in the Los Angeles Times. He was given very little choice in the selection of his story or the cast. With time on his hands, he continued writing.
