Initiation À La Papyrologie Documentaire
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ORDOVICIAN to RECENT Edited by Claus Nielsen & Gilbert P
b r y o z o a : ORDOVICIAN TO RECENT Edited by Claus Nielsen & Gilbert P. Larwood BRYOZOA: ORDOVICIAN TO RECENT EDITED BY CLAUS NIELSEN & GILBERT P. LARWOOD Papers presented at the 6th International Conference on Bryozoa Vienna 1983 OLSEN & OLSEN, FREDENSBORG 1985 International Bryozoology Association dedicates this volume to the memory of MARCEL PRENANT in recognition o f the importance of his studies on Bryozoa Bryozoa: Ordovician to Recent is published by Olsen & Olsen, Helstedsvej 10, DK-3480 Fredensborg, Denmark Copyright © Olsen & Olsen 1985 ISBN 87-85215-13-9 The Proceedings of previous International Bryozoology Association conferences are published in volumes of papers as follows: Annoscia, E. (ed.) 1968. Proceedings of the First International Conference on Bryozoa. - Atti. Soc. ital. Sci. nat. 108: 4-377. Larwood, G.P. (cd.) 1973. Living and Fossil Bryozoa — Recent Advances in Research. — Academic Press (London). 634 pp. Pouyet, S. (ed.) 1975. Brvozoa 1974. Proc. 3rd Conf. I.B.A. - Docums Lab. Geol. Fac. Sci. Lvon, H.S. 3:1-690. Larwood, G.P. & M.B. Abbott (eds) 1979. Advances in Bryozoology. - Systematics Association, Spec. 13: 1-639. Academic Press (London). Larwood, G. P. «S- C. Nielsen (eds) 1981. Recent and Fossil Bryozoa. - Olsen & Olsen, Fredensborg, Denmark. 334 pp. Printed by Olsen £? Olsen CONTENTS Preface........................................................................................................................... viii Annoscia, Enrico: Bryozoan studies in Italy in the last decade: 1973 to 1982........ 1 Bigey, Françoise P.: Biogeography of Devonian Bryozoa ...................................... 9 Bizzarini, Fabrizio & Giampietro Braga: Braiesopora voigti n. gen. n.sp. (cyclo- stome bryozoan) in the S. Cassiano Formation in the Eastern Alps ( Italy).......... 25 Boardman, Richards. -
Tinteros De Bronce Romanos De Augusta Emerita ; Roman Bronze
Archivo Español de Arqueología 2019, 92, págs. 251-269 ISSN: 0066 6742 https://doi.org/10.3989/aespa.092.019.014 Tinteros de bronce romanos de Augusta Emerita Roman bronze inkpots from Augusta Emerita Javier Alonso1 Biblioteca Pública del Estado (Ciudad Real) Rafael Sabio González2 Museo Nacional de Arte Romano de Mérida José Manuel Jerez Linde3 Investigador independiente RESUMEN 1. INTRODUCCIÓN Estudio de tinteros de bronce recuperados en el yacimiento de Augusta Emerita. Se definen las partes de un tintero, En el transcurso de la revisión de materiales de diferentes tipologías, las medidas de volumen, se relacionan las época romana que se está llevando a cabo en el yaci- representaciones iconográficas de instrumentos de escritura con miento de Augusta Emerita, hemos podido reunir los hallazgos en depósitos funerarios, los usos de otros objetos una nada desdeñable colección de tinteros de bronce y componentes que implicaba escribir con tinteros y se analiza procedentes de las últimas intervenciones arqueoló- la relación de los tinteros con los depósitos funerarios y la posible identificación de quienes se enterraron con estos objetos. gicas, caso del Consorcio de la Ciudad de Mérida (CCMM), como también de los almacenes del Museo SUMMARY Nacional de Arte Romano (MNAR) y que se encua- dran dentro de los estudios que realizamos sobre la This article examines Roman metal inkwells found at cultura escrita en la capital de la Lusitania (Alonso Augusta Emerita. Along with the presentation of a typology, the y Velázquez 2010: 167-187; Sabio y Alonso 2012: parts of an inkwell are defined and volume measures are 1001-1023; Alonso 2013: 213-226; Alonso y Sabio analyzed. -
Caesar and Cleopatra
CAESAR AND CLEOPATRA By George Bernard Shaw ACT I An October night on the Syrian border of Egypt towards the end of the XXXIII Dynasty, in the year 706 by Roman computation, afterwards reckoned by Christian computation as 48 B.C. A great radiance of silver fire, the dawn of a moonlit night, is rising in the east. The stars and the cloudless sky are our own contemporaries, nineteen and a half centuries younger than we know them; but you would not guess that from their appearance. Below them are two notable drawbacks of civilization: a palace, and soldiers. The palace, an old, low, Syrian building of whitened mud, is not so ugly as Buckingham Palace; and the officers in the courtyard are more highly civilized than modern English officers: for example, they do not dig up the corpses of their dead enemies and mutilate them, as we dug up Cromwell and the Mahdi. They are in two groups: one intent on the gambling of their captain Belzanor, a warrior of fifty, who, with his spear on the ground beside his knee, is stooping to throw dice with a sly-looking young Persian recruit; the other gathered about a guardsman who has just finished telling a naughty story (still current in English barracks) at which they are laughing uproariously. They are about a dozen in number, all highly aristocratic young Egyptian guardsmen, handsomely equipped with weapons and armor, very unEnglish in point of not being ashamed of and uncomfortable in their professional dress; on the contrary, rather ostentatiously and arrogantly warlike, as valuing themselves on their military caste. -
Alexander Panayotov Phd Thesis
THE JEWS IN THE BALKAN PROVINCES OF THE ROMAN EMPIRE : AN EPIGRAPHIC AND ARCHAEOLOGICAL SURVEY Alexander Panayotov A Thesis Submitted for the Degree of PhD at the University of St Andrews 2004 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/13849 This item is protected by original copyright THE JEWS IN THE BALKAN PROVINCES OF THE ROMAN EMPIRE. AN EPIGRAPHIC AND ARCHAEOLOGICAL SURVEY Alexander Panayotov PhD Candidate Submitted: 28lh January 2004 School of Divinity University of St Andrews Scotland ProQuest Number: 10170770 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10170770 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 I, ALEXANDER ANTONIEV PANAYOTOV, hereby certify that this thesis, which is approximately 94,520 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. -
U Tech Glossary
URGLOSSARY used without permission revised the Ides of March 2014 glos·sa·ry Pronunciation: primarystressglässchwaremacron, -ri also primarystressglodots- Function: noun Inflected Form(s): -es Etymology: Medieval Latin glossarium, from Latin glossa difficult word requiring explanation + -arium -ary : a collection of textual glosses <an edition of Shakespeare with a good glossary> or of terms limited to a special area of knowledge <a glossary of technical terms> or usage <a glossary of dialectal words> Merriam Webster Unabridged tangent, adj. and n. [ad. L. tangens, tangent-em, pr. pple. of tangĕre to touch; used by Th. Fincke, 1583, as n. in sense = L. līnea tangens tangent or touching line. In F. tangent, -e adj., tangente n. (Geom.), Ger. tangente n.] c. In general use, chiefly fig. from b, esp. in phrases (off) at, in, upon a tangent, ie off or away with sudden divergence, from the course or direction previously followed; abruptly from one course of action, subject, thought, etc, to another. (http://dictionary.oed.com) As in off on a tangent. “Practice, repetition, and repetition of the repeated with ever increasing intensity are…the way.” Zen in the Art of Archery by Eugen Herrigel. For many terms, this glossary contains definitions from multiple sources, each with their own nuance, each authors variation emphasized. Reading the repeated definitions, with their slight variations, helps create a fuller, more overall understanding of the meaning of these terms. The etymology of the entries reinforces and may repeat the repetitions. Wax on, wax off. Sand da floor. For sometime, when I encounter a term I don’t understand (and there are very many), I have been looking them up in the oed and copying the definition into a Word document. -
Transcripcio I Transliteracio Dels Noms Dels Principals Vasos Grecs
TRANSCRIPCIO I TRANSLITERACIO DELS NOMS DELS PRINCIPALS VASOS GRECS Joan Alberich i Montserrat Ros ABSTRACT The aim of this paper is to give some rules to specialists in order to dis- tinguish between the transliteration of ancient Greek words in the Latin alphabet and their transcription in Catalan. The authors present un alphabetical list of the names of various Greek vases in their original lan- guage, in their transliterated graphy, in their Latin form and in their Ca- talan transcriution. Molt sovint trobem en textos de tota mena mots provinents del grec clhssic grafiats de tal manera que criden l'atenció del lector per la seva forma exbtica i estranya i que, altrament, no reflecteixen amb prou nitidesa la grafia original grega. Generalment, són formes híbrides que responen a una confusió entre el que seria la transliteració i la transcripció d'aquests mots; perb de vegades presenten alteracions més greus per haver seguit rnimbticament i acritica la grafia corresponent en una llengua forastera sense tenir prou en compte ni la llengua de partida, el grec, ni la personali- tat llatina de la llengua d'arribada, el catalh. Per a evitar tals barreges, cal que tinguem una idea ben clara dels criteris diferents que regeixen la trans- literació i la transcripció dels mots. Quan no podem reproduir els mots grecs amb els carhcters originals, o bé no és el nostre interks de fer-ho, i no volem recórrer a la traducció, la transliteració pot ésser un carn' a seguir. L'avantatge principal de la trans- literació és la reducció de les despeses que suposen els canvis tipogrhfics en un mateix text. -
Roman Coins Elementary Manual
^1 If5*« ^IP _\i * K -- ' t| Wk '^ ^. 1 Digitized by Google Digitized by Google Digitized by Google Digitized by Google Digitized by Google Digitized by Google PROTAT BROTHERS, PRINTBRS, MACON (PRANCi) Digitized by Google ROMAN COINS ELEMENTARY MANUAL COMPILED BY CAV. FRANCESCO gNECCHI VICE-PRBSIDENT OF THE ITALIAN NUMISMATIC SOaETT, HONORARY MEMBER OF THE LONDON, BELGIAN AND SWISS NUMISMATIC SOCIBTIES. 2"^ EDITION RKVISRD, CORRECTED AND AMPLIFIED Translated by the Rev<> Alfred Watson HANDS MEMBF,R OP THE LONDON NUMISMATIC SOCIETT LONDON SPINK & SON 17 & l8 PICCADILLY W. — I & 2 GRACECHURCH ST. B.C. 1903 (ALL RIGHTS RF^ERVED) Digitized by Google Arc //-/7^. K.^ Digitized by Google ROMAN COINS ELEMENTARY MANUAL AUTHOR S PREFACE TO THE ENGLISH EDITION In the month of July 1898 the Rev. A. W. Hands, with whom I had become acquainted through our common interests and stud- ieSy wrote to me asking whether it would be agreeable to me and reasonable to translate and publish in English my little manual of the Roman Coinage, and most kindly offering to assist me, if my knowledge of the English language was not sufficient. Feeling honoured by the request, and happy indeed to give any assistance I could in rendering this science popular in other coun- tries as well as my own, I suggested that it would he probably less trouble ii he would undertake the translation himselt; and it was with much pleasure and thankfulness that I found this proposal was accepted. It happened that the first edition of my Manual was then nearly exhausted, and by waiting a short time I should be able to offer to the English reader the translation of the second edition, which was being rapidly prepared with additions and improvements. -
Initiation Àlapapyrologie Documentaire
UNIVERSITÉ DE LIÈGE INITIATION À LA PAPYROLOGIE DOCUMENTAIRE NOTES DU COURS DE JEAN A. STRAUS Sixième édition revue Sixième tirage complété ANNÉE UNIVERSITAIRE 2013 - 2014 1 AVERTISSEMENT Ces notes sont un support de cours destiné aux étudiants. Elle ne peuvent se com- prendre pleinement que comme accompagnement du cours oral. Elles sont complétées lors des exercices pratiques qui se font tout au long de l'année et qui constituent la partie la plus importante du cours. Certains aspects de ces notes, obscurs ou même apparemment erronés, ne s'éclairent ou ne se «corrigent» qu'à la lumière de ces exercices. L'auteur saura donc gré à l'utilisateur de cette brochure de toujours garder ces remarques à l'esprit au cours de la lecture. Par ailleurs, il tient à manifester un sentiment de profonde gratitude envers les auteurs de la Bibliographie papyrologique de l'Association Égyptologique Reine Élisabeth sans lesquels ces notes ne pourraient être tenues à jour aussi promptement. 2 PREMIÈRE PARTIE : INTRODUCTION CHAPITRE PREMIER LE PAPYRUS DANS L'ANTIQUITÉ § 1. – La plante Le papyrus (Cyperus papyrus L. ; ἡ πάπυροϲ, hè papuros ; ἡ βύβλοϲ, hè bu- blos ; βίβλοϲ, biblos) est une plante qui croît dans des lieux marécageux, humides et chauds. Elle présente une tige de section triangulaire qui mesure de deux à trois mè- tres, mais peut atteindre une hauteur de cinq mètres. Elle se termine par une ombelle décorative de grand diamètre. L'étymologie du mot πάπυροϲ se trouve sans doute dans l'égyptien p3-pr, vocalisé /pa-pōr/, qui signifie « celui de la maison », « celui du domaine (royal) » dans le sens de « la plante de l'administration » (J. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Methods of Remembrance: The Images of Septimius Severus Permalink https://escholarship.org/uc/item/7zp4t1kt Author Inglis, James Dean Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Methods of Remembrance: The Images of Septimius Severus A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in History by James Dean Inglis June 2011 Thesis Committee: Professor Michele R. Salzman, Chairperson Professor Steven Chrissanthos Professor Randolph Head Copyright by James Dean Inglis 2011 The Thesis of James Dean Inglis is approved ________________________________ ________________________________ ________________________________ Committee Chairperson University of California, Riverside Acknowledgements The work I have produced in this thesis is the culmination of long hours spent in conversation with many of my colleagues at the University of California Riverside. I owe a special note to Kyle McStay and Colin Whiting, both of whom helped me grapple with the questions arising from my investigations. Their eagerness to support the pursuit of academic knowledge has propelled me to complete this work. Colin's efforts to read the many versions of my conclusion alone are worthy of great appreciation. My colleague from the English department, Claire Nava, may also not be forgotten. I am gratified by her help editing my syntax. I also owe a deep debt of gratitude to Professor Michele Salzman. Her efforts to read, edit, reread, and re-edit my Thesis have opened my eyes to the idiosyncrasies that appear repeatedly in my writing. -
As Produções Cerâmicas De Imitação Na Hispania
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Institucional de la Universidad de Alicante MONOGRAFIAS EX OFFICINA HISPANA II AS PRODUÇÕES CERÂMICAS DE IMITAÇÃO NA HISPANIA R. MORAIS, A. FERNÁNDEZ e M. J. SOUSA Editores Científicos 2014 TOMO I Imagem de capa: Cerâmica pintada Alto-Imperial (Bracara Augusta) Design capa: Júlia Andrade Editores científicos: Rui Morais Adolfo Fernández Maria José Sousa Edita: Faculdade de Letras da Universidade do Porto (FLUP) Via Panorâmica, s/n – 4150-564 Porto www.letras.up.pt | [email protected] EX OFFICINA HISPANA Sociedad de Estudios de la Cerámica Antigua en Hispania (SECAH) Aptdo. 33 – 28680 San Martín de Valdeiglesias (Madrid) www.exofficinahispana.org | [email protected] © Faculdade de Letras da Universidade do Porto (FLUP) © Sociedad de Estudios de la Cerámica Antigua en Hispania (SECAH) © De cada artigo o seu autor Paginação, Impressão e Acabamento: Sersilito-Empresa Gráfica, Lda. www.sersilito.pt | [email protected] ISBN Serviço de Publicações da Faculdade de Letras da Universidade do Porto: 978-989-8648-34-1 (tomo 1) 978-989-8648-35-8 (tomo 2) ISBN SECAH: 978-84-617-2889-3 (obra completa) 978-84-617-3016-2 (tomo 1) 978-84-617-3017-9 (tomo 2) Depósito Legal: 384049/14 ÍNDICE TOMO I Introdução . 9 Rui Morais, Adolfo Fernández e Maria José Sousa Conferências Vasos e vasilhame em Plínio o Naturalista . 15 Francisco de Oliveira Vasos, bilhas, ânforas e potes: utensílios cerâmicos como adereço e como cenário no Satyricon de Petrónio e no Asinus Aureus de Apuleio . -
Dallo Scavo Alla Esposizione
Storia di un reperto archeologico Dott.ssa Martellucci Sabrina 1 Come si sceglie un sito? Le Fonti : storiche; geografiche; Studio cartografiche; Approfondimento Probabile scelta fotografiche; del sito Iconografiche. Dott.ssa Martellucci Sabrina 2 Ma cosa è uno scavo archeologico? Lo scavo è la tecnica meglio conosciuta e più comunemente usata nell'ambito dell„archeologia Dott.ssa Martellucci Sabrina 3 Come si classificano gli scavi? scavi di ricerca scavi di scavi emergenza programmati Dott.ssa Martellucci Sabrina 4 Per scavi di ricerca si intendono quelli condotti principalmente da istituzioni universitarie con l'obiettivo esplicito di migliorare le conoscenze relative ad una certa epoca o ad una determinata area geografica; Dott.ssa Martellucci Sabrina 5 Per scavi programmati Si intende quelli finalizzati alla conoscenza di un sito minacciato (per l'espansione edilizia o per la realizzazione di reti infrastrutturali); Dott.ssa Martellucci Sabrina 6 Per scavi di emergenza si intende invece quelli finalizzati alla documentazione di resti emersi improvvisamente nel corso di lavori di altro genere. Dott.ssa Martellucci Sabrina 7 Lo scavo comporta inizialmente la rimozione del suolo superficiale se necessario con mezzi meccanici, anche se ne è consigliabile la rimozione a mano Dott.ssa Martellucci Sabrina 8 La formazione delle unità stratigrafiche a - situazione di partenza b - azione umana di asporto di materiale: scavo di due fosse di fondazione c - azioni umane di accumulo di materiale d - evento del crollo e - deposito alluvionale o lento accumulo di materiale portato dal vento Dott.ssa Martellucci Sabrina 9 A seconda che siano effetto di un evento naturale o di un'azione umana, le unità stratigrafiche si possono intanto suddividere in: "artificiali" (deposito di immondizia, costruzione di un muro, scavo di un fossato). -
Caesar and Cleopatra Study Guide
Christopher Plummer and Nikki M. James. Caesar and Cleopatra Study Guide Tools for Teachers to Guthrie’s specifications by internationally The Stratford renowned theatrical designer Tanya Moiseiwitsch. Story From the balcony of that stage, on the night of July 13, 1953, actor Alec Guinness spoke the opening lines of Richard III: “Now is the winter of our discontent/ Made glorious summer by this son of York.” Those words marked the triumphant end to what had sometimes seemed a hopeless struggle against the odds to turn Patterson’s dream into a reality – and the beginning of an astonishing new chapter in Canadian theatre history. The other production of that inaugural six-week season, a modern- dress version of All’s Well That Ends Well, opened the following night, confirming the opinion of celebrated novelist Robertson Davies that the new Festival was an achievement “of historic importance not only in Canada, but wherever theatre is taken seriously – that is to say, in every civilized country in the world.” That Stratford, Ontario, is the home of the largest classical repertory theatre in North Time proved the truth of Davies’ words, for the America is ultimately attributable to the dream Festival’s pillared, porticoed thrust stage of one man, Stratford-born journalist Tom revolutionized the performance of classical Patterson. and contemporary theatre in the latter half of the 20th century and inspired the design of In the early 1950s, seeing the economy of his more than a dozen other major venues around home town endangered by the withdrawal of the world, including the Guthrie Theatre in the railway industry that had sustained it for Minneapolis, the Beaumont Theatre at Lincoln nearly eighty years, Patterson conceived the Centre and, in England, the Chichester Festival idea of a theatre festival devoted to the works Theatre, the Crucible Theatre in Sheffield and of William Shakespeare.