This article presents the results of a contextual analysis of graffiti found in Substructure II-B at the Maya city of Calakmul. The final use of this space was for the burial of an important Kanu’l lord, whose identity—as shown by a recent analysis of the Long Count date inscribed as part of the graffiti—seems to be that of Yukno’m Ch’een II. My analysis of the frequency of appearance of different categories of graffiti within the structure, compared to the frequency of the same categories within the total set of graffiti recorded in the Maya area, suggests that the main objective of its creators was the ritual reconditioning of this space: they wished to make it more suitable for the entombment of the ruler, through its aesthetic modification, in what constitutes an example of placemaking. The inclusion of images of deities associated with death, rebirth, abundance, and kingship reconfigured the room and transformed it into a sacred space in which the burial process could be properly carried out. Analyzing the graffiti in the context in which they are located allows us to better understand the intentionality of its creators.

Scores of young men and women were killed by regime forces during the Arab Spring in Egypt (2011–2013). Their photographs assumed iconic proportions, meandering online and off through countless acts of creative remediation. This essay examines the different kinds of social and political work that these photographs came to play during this period, including as indexes of the revolutionary cause and as mediators of revolutionary subjectivities at a distance. This essay departs from extant studies of visual cultures of secular martyrdom or funerary portraiture framed by notions of commemoration, and instead stresses contingent presence grounded in the specific liminal temporality of the revolutionary process. In this temporal limbo, photographs of martyrs often blurred conventional boundaries between representations and their referents. Established visual conventions of funerary portraiture were turned upside down, and portraits of martyrs were understood not as representations of the dead, but as alive and present, sometimes more alive than the dwindling group of dedicated revolutionaries.

The Central Mediterranean Penal Heritage Project (CMPHP) employs remote-sensing techniques to study and preserve archaeological remains of human confinement. Within this larger project, digital photogrammetry was used to document part of the castle prison in Noto Antica to identify and digitally preserve graffiti depicting galleys and gameboards.

Graffiti are often seen as providing a window into the emotions of ancient peoples. However, Byzantine graffiti has been viewed as an exception, with the formulaic Greek texts written between 300 and 1500 taken as evidence of communal identity, rather than individual expressiveness. However, variations in these texts can reveal much about an individual author and their personal experiences. In particular, certain formula suggest the dangerous situation an author survived, including incarceration and sea travel. This paper focuses on Corinth, Syros, and Tinos where individuals experienced danger, and how their fears and needs were manifested in the graffiti they left behind.

This article reconsiders a graffitied riddle from Pompeii (CIL 4.1877). It argues that slavery is one possible dimension of the puzzle, and that acknowledging the existence of slavery in this text testifies to the potential of Pompeian graffiti as a source for overlooked social histories.

This article revisits a famous graffiti poem from Pompeii (CIL 4.9123). It argues that the poem is both more erotically charged and more cleverly metaliterary than previously recognized; and that this reading of the poem offers new evidence for the literary richness of Pompeii's graffiti culture.

Precolumbian Maya graffiti is challenging to document because it is complex, multilayered, and difficult to see with the naked eye. In the Maya Lowlands, precolumbian graffiti occurs as etched palimpsests on parts of substructures such as stucco walls of residences, palaces, and temples that are frequently only accessible through dark and narrow tunnel excavations. Experienced iconographers or epigraphers with advanced drawing skills are the most qualified researchers to accurately record, analyze, and interpret precolumbian Maya graffiti. Because these scholars have a vast knowledge of conventions and styles from multiple time periods and sites, they are less likely to document the complex and seemingly chaotic incisions incorrectly. But as with many specialists in Maya archaeology, iconographers and epigraphers are not always available to collaborate in the field. This raises the question, how might an archaeologist without advanced training in iconography accurately record graffiti in subterranean excavations? Advances in digital applications of archaeological field recording have opened new avenues for documenting graffiti. One of these is Reflectance Transformation Imaging (RTI), a method that uses a moving light source and photography in order to visualize, interact with, and analyze a three-dimensional object in a two-dimensional image. With practice, RTI images can easily be produced in the field and later shared with specialists for the purposes of analysis and interpretation. Performed on a series of 20 unique graffiti from the Maya archaeological site of Holtun (two examples are presented here), RTI shows promise as a viable technique for documenting and preserving graffiti as cultural heritage.

Vernae—often but not exclusively taken to be home-born slaves—are usually thought to have had a privileged role within the ancient Roman household. While previous studies have highlighted how these individuals were represented with affection or as surrogate members of the freeborn family, this article uses epigraphic evidence from Pompeii to argue that the reality for at least some vernae was much more grim. A full examination of Pompeian attestations of the word verna reveals that there was a connection to prostitution in over seventy per cent of extant appearances of the noun. Furthermore, contextualizing this phenomenon within the corpus of prostitution-related graffiti more broadly reveals that verna was the single most commonly used descriptor in advertisements for sexual services at Pompeii. Ultimately, the epigraphic evidence from Pompeii suggests that vernae were not safe from sexual exploitation, and it may have been their status as vernae that made them attractive to those wishing to purchase sex.

This paper examines five graffiti expense lists from Pompeii for information on the habits of consumption in the Vesuvian cities. It is intended as a contribution to the growing literature on economic well-being in Pompeii, focusing on the diet and consumption strategies of the nonelite Roman majority. These lists provide rare quantitative evidence for a portion of a whole diet, as well as nonfood expenses. They also shed light on the place of cereals in the overall Vesuvian diet, the importance of consumer goods, and cycles of plenty and want.

Excavations at Brandon House, Southwark, uncovered a fragment of Roman pottery with a graffito identified as the Chi-Rho symbol, only the second example to be found in London. This note describes the find itself and its context, presents an overview of similar finds from Roman Britain and offers a glimpse into the significance of the sherd as evidence for Christianity in Roman Britain and its place in the dynamic religious landscape of Roman Southwark.

For nearly 300 years, the Knights of St John forced a range of captives to labour on their galleys, with slave, convict and debtor oarsmen propelling the Knights’ navy in their crusade against Islam. This article considers how we can investigate these captives and the consequences of their presence in Malta by reconfiguring captivity as a process that extended into wider society. By seeking material traces of captivity at sea on board galleys and on land, the article opens new investigative avenues into early modern captivity in the Mediterranean. In addition, it brings to current debates a rare archaeological example of modern slavery within a European context.