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Early Etruscan Inscriptions
ja trvw (λ^ J uu^aunA oWVtC OnXv ^^a^JV /yu* A^-vr^ EARLY ETRUSCAN INSCRIPTIONS FABRETTI 2343-2346 GEORGE HEMPL THIS PAPER IS REPRINTED FROM THE MATZKE MEMORIAL VOLUME PUBLISHED BY THE UNIVERSITY XTbe TUntpereitp prese STANFORD UNIVERSITY CALIFORNIA 1911 IN MEMORY OF JOHN ERNST MATZKE EARLY ETRUSCAN INSCRIPTIONS FABRETTI 2342-2346 How I, a Germanic scholar, came to be interested in Venetic and Etrus- can, I have told in my report on the results of my Italic studies. This report has been delayed, chiefly by the difficulties inherent in such an under- taking, but it will now be published in a very short time. The present paper is an abstract from it. A few weeks before his death, Professor Matzke urged me to hasten the publication of my report. He said that my silence was being misinterpreted, and that I owed it not only to myself but also to my friends to publish something at once—if only a fragment. I was touched by what he said and the way in which he said it. It was almost exactly what another friend, Otto Jespersen, had written me from Copenhagen not long before, and what still others, as if by concert, now began to urge upon me. I saw the force of their arguments and decided to drop everything else and complete my report. And now that Fate has sud- denly cut short the life of one of them, I can find no more appropriate tribute to lay on his grave than the fragment he so recently urged me to publish. -
0. Introduction L2/12-386
Doc Type: Working Group Document Title: Revised Proposal to Encode Additional Old Italic Characters Source: UC Berkeley Script Encoding Initiative (Universal Scripts Project) Author: Christopher C. Little ([email protected]) Status: Liaison Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Replaces: N4046 (L2/11-146R) Date: 2012-11-06 0. Introduction The existing Old Italic character repertoire includes 31 letters and 4 numerals. The Unicode Standard, following the recommendations in the proposal L2/00-140, states that Old Italic is to be used for the encoding of Etruscan, Faliscan, Oscan, Umbrian, North Picene, and South Picene. It also specifically states that Old Italic characters are inappropriate for encoding the languages of ancient Italy north of Etruria (Venetic, Raetic, Lepontic, and Gallic). It is true that the inscriptions of languages north of Etruria exhibit a number of common features, but those features are often exhibited by the other scripts of Italy. Only one of these northern languages, Raetic, requires the addition of any additional characters in order to be fully supported by the Old Italic block. Accordingly, following the addition of this one character, the Unicode Standard should be amended to recommend the encoding of Venetic, Raetic, Lepontic, and Gallic using Old Italic characters. In addition, one additional character is necessary to encode South Picene inscriptions. This proposal is divided into five parts: The first part (§1) identifies the two unencoded characters (Raetic Ɯ and South Picene Ũ) and demonstrates their use in inscriptions. The second part (§2) examines the use of each Old Italic character, as it appears in Etruscan, Faliscan, Oscan, Umbrian, South Picene, Venetic, Raetic, Lepontic, Gallic, and archaic Latin, to demonstrate the unifiability of the northern Italic languages' scripts with Old Italic. -
AVRIGA Zprávy Jednoty Klasických Filologů
AVRIGA Zprávy Jednoty klasických filologů XLVI (2004) 1-2 JEDNOTA KLASICKÝCH FILOLOGU Praha FECE QUOD POTUE FACIANT MELIORA POTENTES» Ignotus © Jednota klasických filologů, 2004 ISSN 1211-3379 ISBN 80-86791-14-9 ČLÁNKY - COMMENTATIONES ETRUSKE číslovky {status quaestionis^ Vladimír SLUNEČKO (Praha) Přejděme nyní k ne zcela jednoduché otázce etruské číslovky „10“. S. P. CoRTSEN (1932^: 59), navrhl etruský výraz jar jako číslovku „10“. Za její doklad považoval uvedené spojení v textu plátěné knihy cis saris (LL VIII. 1), které interpretoval jako další kalendářní datum.^ S tímto názorem se však nejednou polemizovalo (např. E. Goldmann 1934'**: 200 n., M. Durante 1965^: 315 n.). Neutěšený stav v otázce etruské číslovky „10“ lze ostatně dobře demonstrovat na diskusích z nedávné doby věnované tomuto tématu. Důkaz pro rovnost výrazu jar s číslovkou „10“ se pokusil mj. nabídnout H. Rix <1969®: 853 nn.), který chtěl podobu římské číslice X „10“ odvodit na základě akrofonního principu. Je totiž prokázáno,’ že na několika archaic kých nápisech jižní Etrurie bylo použito (místo zde obvyklé sigmy) západo- řecké chí - X - pro transkripci etruského sibilantu „s“. Dříve než však tato nezdařená inovace jihoetruské písařské školy ve Vejích opět vyšla z běžného užívání, tj. nejpozději v 6. stol. př. n. 1., muselo být podle Rixe toto písmeno po vzoru akrofonního principu při tvorbě řeckých číslic použito pro označe ní etruské číslovky jar „10“, takže vznikla římská číslice X. Tento výklad (a zároveň důkaz pro jar „10“) se však nezdá být příliš přesvědčivý.^ ‘ Tento článek je pokračováním článku uveřejněného pod týmž názvem v ZJKF (Auriga) 45, 2003, s. 25-34. ’ Zur etruskischen Sprachkunde, in: Symbolae Philologicae O. -
Mercury (Mythology) 1 Mercury (Mythology)
Mercury (mythology) 1 Mercury (mythology) Silver statuette of Mercury, a Berthouville treasure. Ancient Roman religion Practices and beliefs Imperial cult · festivals · ludi mystery religions · funerals temples · auspice · sacrifice votum · libation · lectisternium Priesthoods College of Pontiffs · Augur Vestal Virgins · Flamen · Fetial Epulones · Arval Brethren Quindecimviri sacris faciundis Dii Consentes Jupiter · Juno · Neptune · Minerva Mars · Venus · Apollo · Diana Vulcan · Vesta · Mercury · Ceres Mercury (mythology) 2 Other deities Janus · Quirinus · Saturn · Hercules · Faunus · Priapus Liber · Bona Dea · Ops Chthonic deities: Proserpina · Dis Pater · Orcus · Di Manes Domestic and local deities: Lares · Di Penates · Genius Hellenistic deities: Sol Invictus · Magna Mater · Isis · Mithras Deified emperors: Divus Julius · Divus Augustus See also List of Roman deities Related topics Roman mythology Glossary of ancient Roman religion Religion in ancient Greece Etruscan religion Gallo-Roman religion Decline of Hellenistic polytheism Mercury ( /ˈmɜrkjʉri/; Latin: Mercurius listen) was a messenger,[1] and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx ("merchandise"; compare merchant, commerce, etc.), mercari (to trade), and merces (wages).[2] In his earliest forms, he appears to have been related to the Etruscan deity Turms, but most of his characteristics and mythology were borrowed from the analogous Greek deity, Hermes. Latin writers rewrote Hermes' myths and substituted his name with that of Mercury. However, there are at least two myths that involve Mercury that are Roman in origin. In Virgil's Aeneid, Mercury reminds Aeneas of his mission to found the city of Rome. In Ovid's Fasti, Mercury is assigned to escort the nymph Larunda to the underworld. -
{Download PDF} Greek Gods and Heroes
GREEK GODS AND HEROES PDF, EPUB, EBOOK Robert Graves | 160 pages | 01 Jan 2001 | Bantam Doubleday Dell Publishing Group Inc | 9780440932215 | English | New York, United States List of Greek mythological figures - Wikipedia They are called demi-gods or in modern term semi-gods , because one of their parents were a god or a goddess. However, mortal heroes were no less respected than semi-gods. Some of the mortals even exceeded semi-gods in terms of bravery and reputation. Regardless of their origin, these heroes accomplished many great tasks and even tasks thought being impossible to accomplish. Because of the deeds, they had done and helping humanity to progress, they were favoured by the gods. If enough favours were gained or devotion showed, the gods would even help the heroes by either giving them wisdom or intervening themselves with their powers. The ancients Greeks were polytheistic — that is, they worshipped many gods. Their major gods and goddesses lived at the top of Mount Olympus, the highest mountain in Greece, and myths described their lives and actions. In myths, gods often actively intervened in the day-to-day lives of humans. Myths were used to help explain the unknown and sometimes teach a lesson. For example, Zeus, the king of the gods, carried his favorite weapon, the thunderbolt. When it rained and there was thunder and lightning, the ancient Greeks believed that Zeus was venting his anger. Many stories about how the Greek gods behaved and interacted with humans are found in the works of Homer. He created two epic poems: the Iliad , which related the events of the Trojan War, and the Odyssey , which detailed the travels of the hero Odysseus. -
Cretan Hieroglyphs Numerals: a Brief Information
Research & Reviews: Journal of Social Sciences www.rroij.com Cretan Hieroglyphs Numerals: A Brief Information Eka Ratna Acharya* Central Department of Education, Tribhuvan University, Kirtipur, Kathmandu, Nepal *For Correspondence: Eka Ratna Acharya, Central Department of Education, Tribhuvan University, Kirtipur, Kathmandu, Nepal, Tel: +97714331076; E-mail: [email protected] Received Date: Jan 02, 2018; Accepted Date: Feb 01, 2018; Published Date: Feb 09, 2018 Copyright: © 2018 Acharya ER et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Review Article ABSTRACT The term ‘hieroglyphs’ is mostly used in numeral notations. It is also related to languages, even though mathematics itself is a language. The Cretan Hieroglyphs script is one of the writing systems used on the Island of Crete between 2000-1650 BC. The symbols used in Cretan Hieroglyphs are found in many sources among them Phaistos disk is most popular. Cretan hieroglyphs were indigenous mathematical developments as the local writing systems. There may be the interrelationship among such notations or symbols of different civilizations. It was developed in the basis of culture, rituals, and indigenous practices distinctively. Similarly other local indigenous or antique phase’s hieroglyphs were found in different communities. We should care on such indigenous developments would be around in our surroundings too. Here the aim of this paper is to explore the development of Cretan Hieroglyphs numerals as the historical development in mathematical concern. The document analysis and historical approach is used here to conclude the theme of this paper. -
The Dioskouroi on Four-Figure Etruscan Mirrors
THE DIOSKOUROI ON FOUR-FIGURE ETRUSCAN MIRRORS By DANIEL “WOOD D” WEBER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by DANIEL “WOOD D” WEBER Oh Muses, sing of my very own ‘divine’ twins, clear-voiced Ariel Faith and lovely-haired Gabryelle Raina, to whom I lovingly dedicate this study. TABLE OF CONTENTS page LIST OF TABLES............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii ABSTRACT....................................................................................................................... xi CHAPTER 1 INTRODUCTION ........................................................................................................1 Etruscan Bronzeworking ..............................................................................................1 The Dioskouroi/ Tinas Cliniar......................................................................................2 2 CHARACTERISTICS OF ETRUSCAN BRONZE MIRRORS..................................4 Material and Limitations...............................................................................................4 Types of Mirrors and Terminology ..............................................................................6 Inscriptions ...................................................................................................................9 -
ITALY, VILLANOVANS and ETRUSCANS Biconical Cinerary
ITALY, VILLANOVANS AND ETRUSCANS Biconical Cinerary Urn with Incised Decoration Etruria, Tarquinia (?), Villanovan, 750-700. BCE Impasto ware 63.15 A and B Museum Purchase The culture of the Villanovans, the Iron Age inhabitants of Etruria, was first uncovered at the small town of Villanova, near Bologna. In the 19th century, archaeologists began excavations here and named the characteristic urnfield culture Villanovan. The name "urnfielders" denotes the burial practices of people who, after cremating their dead, bury the ashes in urns placed in tombs. Villanovan cinerary urns are usually made of impasto ware, the typical, thick-walled, black burnished pottery fabric of the Villanovans. The clay still retains many of the impurities that naturally occur in clay-beds. Impasto pottery is handmade, until the introduction of the potter's wheel ca. 750-700 BCE The Villanovans buried the ashes of their dead in two types of cinerary urns: biconical and hut. The museum's urn is the biconical type, which is so-called from the resemblance of the body to two cones, one inverted on top of the other. Biconical urns are more common than hut urns. The general shape and decoration are fairly standard throughout the region, but the lids in the northern area were covered with a bowl, whereas in the south the Villanovans used a lid made in the shape of a helmet. Sometimes the lids were made of bronze. The museum's lid imitates a bronze bell-shaped helmet. Villanovan urns were buried in small graves. These were rectangular pits, usually lined with stone slabs and covered by a large roof slab. -
Platonist V3 N6 1887
The Platonist. “Platonism is immortal because its principles are immortal in the Human Intellect and Heart.” The Esoteric doctrine of all religions and philosophies is identical. ETRUSCAN NOTES. Part III. THE DICE OF. TOSCANELLA. I. In the year 1847 a pair of ivory dice, marked not with pips but with the following words, MACH, Cl, ZAL, SA, THU, HUTH, were found in a tomb at Toscanella, the Etruscan Tuscania; and it has always been clear to every Etruscologist except Corssen (who attempted to combine the words into a sentence), that we have here the Etruscan numerals from 1 to 6. I am far from say ing that this meaning exhausts the signification of these mysterious words, and have pointed out (vide R. B. jr., The Religion and Mythology of the Aryans of Northern Europe, Appendix D. The Etruscans.) their curious ap parent connexion with the famous Ephesian Letters or Spells, which were engraven on the image of the great Hittite goddess known in common parlance as “Diana (Artemis) of the Ephesians” (cf. Acts, xix. 19; Hesychios and Souidas, in voc. Ephesia- Grammata; P l u t a r c h , Sympos. vii. 5). I would, however, here mainly consider their numeral value, and after a long and careful in vestigation, in which I have fully weighed the views of THE PLAT0N1ST. Ellis, Deecke, Pauli, and Canon Taylor, I have come to the conclusion that the theory of the last named writer is undoubtedly correct, i. e. that , Gi= 2, Zab= 3 , Sa= 4, Qu= 5 , a n d hu6=6: Pauli has proved be yond a doubt, as Sayce agrees, that these numerals are not Aryan (Indo-European), as Deecke would fain make out; Taylor has rightly connected them with the Tur anian languages of Northern Europe and Asia, and therefore we have only to go forward on the lines laid down in these Etruscan Notes, Part I (vide The Jan. -
Print This Article
Journal of Ancient Egyptian Interconnections MARRIAGE AND PARENTHOOD ON CLASSICAL PERIOD BRONZE MIRRORS : T HE CASE OF LATVA AND TUNTLE Alexandra A. Carpino Northern Arizona University ABSTRACT The scenes that enhanced the reverse sides of the Etruscans’ bronze mirrors were not just a form of entertainment. Rather, mirror iconography provided elite Etruscans of both genders with a range of ideas to ponder as they fashioned their appearances daily within the domestic sphere. During the 4th century BCE, the number of depictions of parents drawn from the broad Hellenic repertoire known to the Etruscan aristocracy soars. Two individuals who stand out as particularly popular were Latva (Leda) and Tuntle (Tyndareos), who appear in the context of a specifically Etruscan narrative known as the “Delivery of Elinai’s (Helen’s) Egg.” This study focuses on the social significance of these scenes and the messages they imparted through their compositional structure and the various attributes of the characters depicted. It is suggested that they can be read as promoting positive paradigms of marriage and parenthood that served as enduring inspirations for the mirrors’ users and viewers. uring the 4th and 3rd centuries in Etruria, ponder as they fashioned and refashioned their communities in both the south and the north had to appearances on a daily basis within the private sphere of cDontend with foreign incursions, raids and the their homes. It also offers scholars today a window into consequences of conquest. Despite these challenges, this the mindsets of the artifacts’ aristocratic purchasers/ time in Etruscan history was especially prolific with owners, expressing many of the values and beliefs they respect to the creation and diversity of high quality art: and their families prized from the Archaic period onward. -
Literary Evidence for Roman Arithmetic with Fractions
Loyola University Chicago Loyola eCommons Classical Studies: Faculty Publications and Other Works Faculty Publications 10-2001 Literary Evidence for Roman Arithmetic with Fractions David W. Maher John F. Makowski Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/classicalstudies_facpubs Part of the Ancient History, Greek and Roman through Late Antiquity Commons Recommended Citation Maher, DW, and Makowski, JF. "Literary evidence for Roman arithmetic with fractions" in Classical Philology 96(4), 2001. 376-399. This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in Classical Studies: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © University of Chicago Press, 2001. LITERARY EVIDENCE FOR ROMAN ARITHMETIC WITH FRACTIONS DAVID W. MAHER AND JOHN F. MAKOWSKI R OMAN ARITHMETIC IS A PERENNIALLY TROUBLING subject for both classicists and mathematicians.Scholars universally comment on the difficulty posed by Roman alphabetical notation both in expres- sing simple figures and in doing written calculations. For example, Lloyd Motz and Jefferson Weaver with exasperation ask, "How ... can anyone do any arithmetic with DCCCLXXXVIII, the Roman equivalent of 888?," and Florian Cajori concludes that the Romans must have resorted to the abacus in order to multiply a number like 723 (DCCXXIII) by 364 (CCCLXIV).' Yet our sources, literary and inscriptional, indicate that the Romans were capable of highly sophisticated calculations, and, of course, it is well rec- ognized that they had great facility with the abacus and with finger reck- oning. -
Unique Perspectives in Etruscan Mythology — Concerning the Causes of the Trojan War
Unique perspectives in Etruscan mythology — concerning the causes of the Trojan War Updated 1.28.13 by Mel Copeland (From “Etruscan Phrases” (http://www.maravot.com/Etruscan_Phrases_a.html) The Etruscans were experts in telling their mythology through murals in their tombs, and the mirrors used by their gentry, sold throughout their known world, from the interior of France to the coasts of the Black Sea and North Africa. Etruscan mirrors were beautifully engraved, recalling details recorded in Greek mythology; however, the Etruscans had a unique view of certain stories, particularly those involving Helen of Troy, with many mirrors devoted to the Trojan War and its heroes. Murals in Etruscan tombs tended to show situations of the underworld, such as the appeal of the three- headed giant Geryon (Etr. Cervn) to the god of the underworld, Hades (Etr. AITA). Seated beside the god is the wife whom Hades abducted, Persephone (Etr. PHERSIPNEI), who is allowed to return to earth once a year, as a herald of the coming of spring. This mural from the Tomb of Orcos shows the three-headed giant Geryon (Etr. CERVN) appealing to AITA (Latin Pluto) on the complaint that Heracles (Etr. HERKLE) had stolen his cattle. The theft was the 10th Labor of Heracles. The names of the characters are important in this mural, particularly that of PHERSIPNEI. We note the suffix “EI” in her name that is also one of two suffixes used in Helen of Troy’s names (ELINAI and ELINEI). The common declension to ELINEI and PHERSIPNEI helps us understand the application of the “EI” suffix, since we can see CERVN is appealing to PHERSIPNEI.