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Indecent writing on the walls proves the unity of the Roman Empire

AGI – For those reading the title – “Beyond Pompeii: Graffiti and other obscene inscriptions of the Western Roman Empire” – must have raised his eyebrow, or set his lips with a grin, or hinted at the embarrassed chakli: your expression. As soon as you have opened the first page of this book, a text of the highest erosion and sophisticated vocabulary for the study of the development of the vulgar Latin language. But this lewd fact, which is an obscene term that has been scientifically analyzed by glottologists, does not prevent a decidedly amusing reading of the text. And graffiti paintings, whose artistic quality need not be commented on, give the impression of a dismal timeliness in their seriously erotic character portrayals, because, as we read in the preface, “they have a diversity and tone of life, many. Bar Crude. ” , But effectively in the actual situation, in understanding the feelings and emotions of men that have not made history, but are undoubtedly the moments of history themselves that influenced the society of the time. Writing (often insulting), with improvisation devices, is not – in fact – intended to pass into history, and their grammar and spelling are “inferior”: but for this reason they are valuable for documenting the development of the popular Latin language, some Also but literary but still enough education spoken by anyone to be able to write a mural on a plate, on a wall, on a slave. From Germany to Africa, over a period of a few centuries, these documents collected in far-flung areas of the empire have been added to those already returned from Pompeii’s excavations (which, however, in the year of extermination) Are essentially closed: 79 E.). The cultural unity of the empire is documented by the uniformity of this low language and includes all the physical, scological, sexual words that curators take care to translate in Italian with scrutiny accuracy in all their critiques . The translation, Stefano Rocchi (who teaches classical philology at the University of Pavia) writes in the premise, “is straightforward and free of prohibitions, as there are subjects dealt with, which will probably make you smile and think that the man in the end is little or nothing.” Changes. Our thoughts will certainly turn into the phenomenon of more or less anonymous bearers operating on the pillars of the arcades and in the public toilets of our cities or on social networks. Among the engraving found in the most unsymmetrical places, there is no shortage of those texts. Is what sometimes distracts the modern reader, displacing the modern reader. The volume, edited by Stefano Rocchi and Roberta Marchioni, is published by Deventera Editris.