{'fraction_non_alphanumeric': 0.02342786683107275, 'fraction_numerical': 0.0, 'mean_word_length': 4.927007299270073, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Epigraphic Landscape of Roman Italy

to the tendency towards height analysis elsewhere (i.e. graffiti under one metre from the ground must be by school children). One might wonder, though, whether impressive images such as the ship Europa, from the eponymous Pompeian house, can really be considered in any real sense as having much in common with stick-men. In short, the volume may well provide the springboard to further research on the role of graffiti in antiquity, which will benefit hugely from the extensive indexes (topographical and thematic) and concordance to epigraphic corpora. It will certainly supply a splendid research tool for further work on topics such as the nature of popular culture, the interaction of word and image, or the significance of the spatial context of graffiti pictures.