11 Cuneiform and Hieroglyphs 11
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Jssea 42 (2015-2016) 71
Demotic and Hieratic Scholia in Funerary Papyri and their Implications for the Manufacturing Process1 Foy Scalf Abstract: Many ancient Egyptian papyrus manuscripts inscribed with funerary compositions contain annotations within the text and margins. Some of these annotations relate directly to the production process for illustrating and inscribing the manuscripts by providing instructions for scribes and artists. Two overlooked examples, pKhaemhor (MMA 25.3.212) and pRyerson (OIM E9787), allow for new interpretations of parallel texts previously considered as labels or captions. An analysis of the corpus of scholia and marginalia demonstrates specific manufacturing proclivities for selective groups of texts, while simultaneously revealing a wide variety of possible construction sequences and techniques in others. Résumé: Plusieurs manuscrits anciens de papyrus égyptiens sur lesquels sont inscrites des compositions funéraires contiennent des annotations dans le texte et dans les marges. Certaines de ces annotations sont directement liées au processus de production relatif à l’illustration et à l’inscription des manuscrits en donnant des instructions destinées aux scribes et aux artistes. Deux exemples négligés, le pKhaemhor (MMA 25.3.212) et le pRyerson (OIM E9787), permettent de nouvelles interprétations de textes parallèles précédemment considérés comme des étiquettes ou des légendes. Une analyse du corpus des scholia et marginalia démontre des tendances de fabrication spécifiques pour des groupes particuliers de textes, tout en révélant simultanément une grande variété de séquences et de techniques de construction dans d'autres cas. Keywords: Book of the Dead – Funerary Papyri – Scholia – Marginalia – Hieratic – Demotic Mots-clés: Livre des Morts – Papyrus funéraire – Scholia – Marginalia – hiératique – démotique The production of illustrated funerary papyri in ancient Egypt was a complex and expensive process that often involved the efforts of a team of skilled scribes and artisans. -
Cuneiform and Hieroglyphs 11
The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1. -
The Ancient Egyptian Hieroglyphic Language Was Created by Sumerian Turks
Advances in Anthropology, 2017, 7, 197-250 http://www.scirp.org/journal/aa ISSN Online: 2163-9361 ISSN Print: 2163-9353 The Ancient Egyptian Hieroglyphic Language Was Created by Sumerian Turks Metin Gündüz Retired Physician, Diplomate ABEM (American Board of Emergency Medicine), Izmir, Turkey How to cite this paper: Gündüz, M. (2017). Abstract The Ancient Egyptian Hieroglyphic Lan- guage Was Created by Sumerian Turks. The “phonetic sound value of each and every hieroglyphic picture’s expressed Advances in Anthropology, 7, 197-250. and intended meaning as a verb or as a noun by the creators of the ancient https://doi.org/10.4236/aa.2017.74013 Egyptian hieroglyphic picture symbols, ‘exactly matches’, the same meaning” Received: August 2, 2017 as well as the “first letter of the corresponding meaning of the Turkish word’s Accepted: October 13, 2017 first syllable” with the currently spoken dialects of the Turkish language. The Published: October 16, 2017 exact intended sound value as well as the meaning of hieroglyphic pictures as Copyright © 2017 by author and nouns or verbs is individually and clearly expressed in the original hierog- Scientific Research Publishing Inc. lyphic pictures. This includes the 30 hieroglyphic pictures of well-known con- This work is licensed under the Creative sonants as well as some vowel sounds-of the language of the ancient Egyp- Commons Attribution International tians. There is no exception to this rule. Statistical and probabilistic certainty License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ beyond any reasonable doubt proves the Turkish language connection. The Open Access hieroglyphic pictures match with 2 variables (the phonetic value and intended meaning). -
Egyptian Hieroglyphs CEEG 0909 a Workbook for an Introduction to Egyptian Hieroglyphs
An Introduction to Egyptian Hieroglyphs CEEG 0909 A Workbook for An Introduction to Egyptian Hieroglyphs C. Casey Wilbour Hall 301 christian [email protected] April 9, 2018 Contents Syllabus 2 Day 1 11 1-I-1 Rosetta Stone ................................................. 11 1-I-2 Calligraphy Practice 1 { Uniliterals ..................................... 13 1-I-4 Meet Your Classmates ............................................ 16 1-I-5 The Begatitudes ............................................... 17 1-I-6 Vocabulary { Uniliterals & Classifiers ................................... 19 Day 2 25 2-I-1 Timeline of Egyptian Languages ...................................... 25 2-I-2 Calligraphy Practice 2 { Biliterals ..................................... 27 2-I-3 Biliteral Chart ................................................ 32 2-I-4 Vocabulary { Biliterals & Classifiers .................................... 33 2-II-3 Vocabulary { Household Objects ...................................... 37 Day 3 39 3-I-1 Calligraphy Practice 3 { Multiliterals & Common Classifiers ....................... 39 3-I-2 Vocabulary { Multiliterals & Classifiers .................................. 43 3-I-3 Vocabulary { Suffix Pronouns, Parts of the Body ............................. 45 3-I-4 Parts of the Body .............................................. 47 3-II-3 Homework { Suffix Pronouns & Parts of the Body ............................ 48 Day 4 49 4-I-1 Vocabulary { Articles, Independent Pronouns, Family, Deities ...................... 49 4-I-4 Gods and Goddesses ............................................ -
A Logogram for YAH "Wound"
Textdatenbank und Wörterbuch des Klassischen Maya Arbeitsstelle der Nordrhein-Westfälischen Akademie der Wissenschaften und der Künste an der Rheinischen Friedrich-Wilhelms-Universität Bonn ISSN 2366-5556 RESEARCH NOTE 17 Published 23 Jun 2020 DOI: 10.20376/IDIOM-23665556.20.rn017.en A Logogram for YAH "Wound" Nikolai Grube1 1) Rheinische Friedrich-Wilhelms-Universität, Bonn Among the many logographic signs which so far have escaped decipherment is a head sign which shows a V-shaped stepped design in its interior1. Figure 1. The Logograph 1078 in its manifestations 1078vc, 1078va and 1078vs. Drawings by Christian Prager. The sign (Fig. 1) has been identified by Eric Thompson (1962) as T1078, and by Martha Macri and Mathew Looper (2003) as PE3. A closer look at the sign shows that its full form includes a small attached prefix with “darkness” markings (Fig. 2a-c). The example on a shell from Piedras Negras Burial 13 (Houston et al. 1998: Fig. 3) (Fig. 2c) shows that the prefixed sign has a small hook and that it most likely represents an obsidian tool, perhaps a knife, such as the personified obsidian eccentric knife on Piedras Negras Stela 8 (Fig. 2f). This affix has not received previous attention in any of the existing sign catalogues, although it does occurs independently in other contexts, such as within the stela names on the back sides of Copan Stelae F and M (Fig. 2d, e). The fact that the sign appears with exactly the same affixation when it has the “knife” sign attached to it and without it indicates 1 This research note appears a few days after a post on the blog „Maya Decipherment“ by Dimitri Beliaev and Stephen D. -
Concretismo and the Mimesis of Chinese Graphemes
Signmaking, Chino-Latino Style: Concretismo and the Mimesis of Chinese Graphemes _______________________________________________ DAVID A. COLÓN TEXAS CHRISTIAN UNIVERSITY Concrete poetry—the aesthetic instigated by the vanguard Noigandres group of São Paulo, in the 1950s—is a hybrid form, as its elements derive from opposite ends of visual comprehension’s spectrum of complexity: literature and design. Using Dick Higgins’s terminology, Claus Clüver concludes that “concrete poetry has taken the same path toward ‘intermedia’ as all the other arts, responding to and simultaneously shaping a contemporary sensibility that has come to thrive on the interplay of various sign systems” (Clüver 42). Clüver is considering concrete poetry in an expanded field, in which the “intertext” poems of the 1970s and 80s include photos, found images, and other non-verbal ephemera in the Concretist gestalt, but even in limiting Clüver’s statement to early concrete poetry of the 1950s and 60s, the idea of “the interplay of various sign systems” is still completely appropriate. In the Concretist aesthetic, the predominant interplay of systems is between literature and design, or, put another way, between words and images. Richard Kostelanetz, in the introduction to his anthology Imaged Words & Worded Images (1970), argues that concrete poetry is a term that intends “to identify artifacts that are neither word nor image alone but somewhere or something in between” (n/p). Kostelanetz’s point is that the hybridity of concrete poetry is deep, if not unmitigated. Wendy Steiner has put it a different way, claiming that concrete poetry “is the purest manifestation of the ut pictura poesis program that I know” (Steiner 531). -
Writing Systems Reading and Spelling
Writing systems Reading and spelling Writing systems LING 200: Introduction to the Study of Language Hadas Kotek February 2016 Hadas Kotek Writing systems Writing systems Reading and spelling Outline 1 Writing systems 2 Reading and spelling Spelling How we read Slides credit: David Pesetsky, Richard Sproat, Janice Fon Hadas Kotek Writing systems Writing systems Reading and spelling Writing systems What is writing? Writing is not language, but merely a way of recording language by visible marks. –Leonard Bloomfield, Language (1933) Hadas Kotek Writing systems Writing systems Reading and spelling Writing systems Writing and speech Until the 1800s, writing, not spoken language, was what linguists studied. Speech was often ignored. However, writing is secondary to spoken language in at least 3 ways: Children naturally acquire language without being taught, independently of intelligence or education levels. µ Many people struggle to learn to read. All human groups ever encountered possess spoken language. All are equal; no language is more “sophisticated” or “expressive” than others. µ Many languages have no written form. Humans have probably been speaking for as long as there have been anatomically modern Homo Sapiens in the world. µ Writing is a much younger phenomenon. Hadas Kotek Writing systems Writing systems Reading and spelling Writing systems (Possibly) Independent Inventions of Writing Sumeria: ca. 3,200 BC Egypt: ca. 3,200 BC Indus Valley: ca. 2,500 BC China: ca. 1,500 BC Central America: ca. 250 BC (Olmecs, Mayans, Zapotecs) Hadas Kotek Writing systems Writing systems Reading and spelling Writing systems Writing and pictures Let’s define the distinction between pictures and true writing. -
A Very Brief Introduction to Hieratic
A Very Brief Introduction to Hieratic Joshua Aaron ROBERSON rev 1.0 (Spring 2018) Contents About this document .................................................................................................. 3 General references ..................................................................................................... 4 §1 Introduction .......................................................................................................... 5 §2 Basic Strategies: Context. Mono-literals, Determinatives, and Logograms. Gestalt ... 6 §3 Abbreviated signs. Common bi- and tri-literal signs ................................................ 9 §4 Dissimilar Hieroglyphic signs with similar Hieratic forms ........................................ 12 §5 Similar Hieroglyphic signs with dissimilar Hieratic forms ........................................ 13 §6 Signs with reduced iconicity .................................................................................. 13 §7 Ligatures ............................................................................................................... 14 §8 Regnal dates ......................................................................................................... 15 §9 Numbers ............................................................................................................... 16 ROBERSON, Introduction to Hieratic. - 2 - About this document The present, short Introduction was designed as an overview of the basic principles of the Hieratic script, in conjunction with a representative -
Emojis and Ancient Egyptian Hieroglyphs
Emojis and Ancient Egyptian Hieroglyphs Emojis are often compared to Egyptian hieroglyphs because both use pictures to express meaning. However, Egyptian hieroglyphs were a writing system like the alphabet you are reading now and could be used to write anything. Instead of using letters for sounds, the ancient Egyptians used signs (pictures). Emojis are used differently. They add extra meaning to writing, a bit like how tone of voice and gestures add extra meaning when we’re speaking. You could write this paragraph using the emoji-alphabet at the top of the answer sheet, but that’s not how emojis are normally used. Aside from using signs instead of letters, there are lots of differences between the Scots and English writing systems and the ancient Egyptian one. For example, Egyptian hieroglyphs could be written either right to left or left to right and were often written in columns from top to bottom. Hieroglyphic writing didn’t use vowels. The name for this sort of writing system is an abjad. You can write out English and Scots with an abjad rather than an alphabet and still understand it without too much difficulty. For example: Ths sntnc sn’t vry hrd t rd. The biggest difference between alphabetic writing systems and the ancient Egyptian one is that in hieroglyphic writing a sign could be used in three ways. It could be used as a word (ideogram); as a sound (phonogram); or as an idea-sign (determinative) to make things easier to understand. For example, could be used as an ideogram for the word ‘bee’; as a phonogram for the first sound in ‘belief’; or as a determinative added to the end of the word ‘hive’ to distinguish it from ‘have’ and ‘heave’, which would all be written the same: hv. -
The Writing of the Birds. Ancient Egyptian Hieroglyphs Before and After the Founding of Alexandria1
The Writing of the Birds. Ancient Egyptian Hieroglyphs Before and After the Founding of Alexandria1 Stephen Quirke, UCL Institute of Archaeology Abstract As Okasha El Daly has highlighted, qalam al-Tuyur “script of the birds” is one of the Arabic names used by the writers of the Ayyubid period and earlier to describe ancient Egyptian hieroglyphs. The name may reflect the regular choice of Nile birds as signs for several consonants in the Ancient Egyptian language, such as the owl for “m”. However, the term also finds an ancestor in a rarer practice of hieroglyph users centuries earlier. From the Ptolemaic and Roman Periods and before, cursive manuscripts have preserved a list of sounds in the ancient Egyptian language, in the sequence used for the alphabet in South Arabian scripts known in Arabia before Arabic. The first “letter” in the hieroglyphic version is the ibis, the bird of Thoth, that is, of knowledge, wisdom and writing. In this paper I consider the research of recent decades into the Arabian connections to this “bird alphabet”. 1. Egyptological sources beyond traditional Egyptology Whether in our first year at school, or in our last year of university teaching, as life-long learners we engage with both empirical details, and frameworks of thought. In the history of ideas, we might borrow the names “philology” for the attentive study of the details, and “philosophy” for traditions of theoretical thinking.2As the classical Arabic tradition demonstrates in the wide scope of its enquiry and of its output, the quest for knowledge must combine both directions of research in order to move forward. -
The Rosetta Stone, British Museum, London Hieroglyphic, [From the Greek=Priestly Carving], Type of Writing Used in Ancient Egypt
T h e R o s e t t a S t o n e Languages: Egyptian and Greek, Using three scripts -- Hieroglyphic, Demotic Egyptian, and Greek. Found 1799 by the French in Egypt Originally from 196 B.C. The Rosetta Stone, British Museum, London Hieroglyphic, [from the Greek=priestly carving], type of writing used in ancient Egypt. Similar pictographic styles of Crete, Asia Minor, and Central America and Mexico are also called hieroglyphics. Interpretation of Egyptian hieroglyphics, begun by Thomas Young and J. F. Champollion and others, is virtually complete. The meanings of hieroglyphics often seem arbitrary and are seldom obvious. Egyptian hieroglyphics were already perfected in the first dynasty (3110-2884 B.C.), but they began to go out of use in the Middle Kingdom and after 500 B.C. were virtually unused. There were basically 604 symbols that might be put to three types of uses (although few were used for all three purposes). 1) They could be used as ideograms, as when a sign resembling a snake meant "snake." [See chart above.] 2) They could be used as a phonogram (or a phonetic letter similar to our alphabet), as when the pictogram of an owl represented the sign or letter “m,” because the word for owl had “m” as its principal consonant sound. [It would be like us using a picture of a snake for the letter “s.”] 3) They could be used as a determinative, an unpronounced symbol placed after an ambiguous sign to indicate its classification (e.g., an eye to indicate that the preceding word has to do with looking or seeing). -
Proto-Elamite
L2/20192 20200921 Preliminary proposal to encode ProtoElamite in Unicode Anshuman Pandey [email protected] pandey.github.io/unicode September 21, 2020 Contents 1 Introduction 2 2 Overview of the Sign Repertoire 3 2.1 Sign names . 4 2.2 Numeric signs . 4 2.3 Numeric signs with extended representations . 5 2.4 Complex capacity signs . 6 2.5 Complex graphemes . 7 2.6 Signs in compounds without independent attestation . 10 2.7 Alternate or variant forms . 11 2.8 Scribal designs . 11 3 Proposed Encoding Model 12 4 Proposed Characters 13 4.1 Numeric signs . 13 4.2 General ideographic signs . 17 5 Characters Not Suitable for Encoding 110 6 References 110 7 Acknowledgments 111 1 Preliminary proposal to encode ProtoElamite in Unicode Anshuman Pandey 1 Introduction The term ‘ProtoElamite’ refers to a writing system that was used at the beginning of the 3rd millenium BCE in the region to the east and southeast of Mesopotamia, known as Elam, which corresponds to the eastern portion of presentday Iran. The name was assigned by the French epigraphist JeanVincent Scheil in the early 20th century, who believed it to be the predecessor of a ‘proper’ Elamite script, which would have been used for recording the Elamite language, simply on account of the location of the tablets at Susa, which was the capital city of Elam. While no ‘proper’ descendent of the script has been identified, scholars continue to use the name ‘ProtoElamite’ as a matter of convention (Dahl 2012: 2). ProtoElamite is believed to have been developed from an accounting system used in Mesopotamia, in a manner similar to the development of ‘ProtoCuneiform’.