1 Ancient Egyptian
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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. -
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. -
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 -
Reformed Egyptian
Review of Books on the Book of Mormon 1989–2011 Volume 19 Number 1 Article 7 2007 Reformed Egyptian William J. Hamblin Follow this and additional works at: https://scholarsarchive.byu.edu/msr BYU ScholarsArchive Citation Hamblin, William J. (2007) "Reformed Egyptian," Review of Books on the Book of Mormon 1989–2011: Vol. 19 : No. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/msr/vol19/iss1/7 This Book of Mormon is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Review of Books on the Book of Mormon 1989–2011 by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title Reformed Egyptian Author(s) William J. Hamblin Reference FARMS Review 19/1 (2007): 31–35. ISSN 1550-3194 (print), 2156-8049 (online) Abstract This article discusses the term reformed Egyptian as used in the Book of Mormon. Many critics claim that reformed Egyptian does not exist; however, languages and writing systems inevitably change over time, making the Nephites’ language a reformed version of Egyptian. Reformed Egyptian William J. Hamblin What Is “Reformed Egyptian”? ritics of the Book of Mormon maintain that there is no language Cknown as “reformed Egyptian.” Those who raise this objec- tion seem to be operating under the false impression that reformed Egyptian is used in the Book of Mormon as a proper name. In fact, the word reformed is used in the Book of Mormon in this context as an adjective, meaning “altered, modified, or changed.” This is made clear by Mormon, who tells us that “the characters which are called among us the reformed Egyptian, [were] handed down and altered by us” and that “none other people knoweth our language” (Mormon 9:32, 34). -
Ancient Writing
Ancient Writing As early civilizations developed, societies became more complicated. Record keeping and communication demanded something beyond symbols and pictures to represent the spoken word. This resource explores the early writing systems of four ancient civilizations: Mesopotamia, Egypt, China, and Mesoamerica. You'll also learn about the Rosetta Stone, the 19th-century discovery that gave scholars the key that unlocked the language of ancient Egypt. Grade Level: Grades 3-5 Collection: Ancient Art, East Asian Art, Egyptian Art, Pre-Columbian Art Culture/Region: America, China, Egypt Subject Area: History and Social Science, Science, Visual Arts Activity Type: Art in Depth HOW ANCIENT WRITING BEGAN… AND ENDED As early civilizations developed, societies became more complicated. Record keeping and communication demanded something beyond symbols and pictures to represent the spoken word. This gallery explores the early writing systems of four ancient civilizations: Mesopotamia, Egypt, China, and Mesoamerica. Here you’ll also learn about the Rosetta Stone, the 19th-century discovery that gave scholars the key that unlocked the language of ancient Egypt. Why were writing systems developed? Communication – Sounds and speech needed to be visually represented. Correspondence – There was a desire to send notes, letters, and instructions. Recording – Bookkeeping tasks became important for counting crops, paying workers’ rations, and collecting taxes. Preservation – Personal stories, rituals, religious texts, hymns, literature, and history all needed to be recorded. Why did some writing systems disappear? Change – Corresponding cultures died out or were absorbed by others. Innovation – Newer, simpler systems replaced older systems. Conquest – Invaders or new rulers imposed their own writing systems. New Beginnings – New ways of writing developed with new belief systems. -
Ancient Egypt: Symbols of the Pharaoh
Ancient Egypt: Symbols of the pharaoh Colossal bust of Ramesses II Thebes, Egypt 1250 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Symbols of the pharaoh Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Symbol detective Gallery activity: Sculpture study Gallery activity: Mighty Ramesses After your visit Follow-up activities Ancient Egypt: Symbols of the pharaoh Before your visit Ancient Egypt: Symbols of the pharaoh Before your visit Background information The ancient Egyptians used writing to communicate information about a person shown on a sculpture or relief. They called their writing ‘divine word’ because they believed that Thoth, god of wisdom, had taught them how to write. Our word hieroglyphs derives from a phrase meaning ‘sacred carvings’ used by the ancient Greek visitors to Egypt to describe the symbols that they saw on tomb and temple walls. The number of hieroglyphic signs gradually grew to over 7000 in total, though not all of them were used on a regular basis. The hieroglyphs were chosen from a wide variety of observed images, for example, people, birds, trees, or buildings. Some represent the sounds of the ancient Egyptian language, but consonants only. No vowels were written out. Also, it was not an alphabetic system, since one sign could represent a combination of two or more consonants like the gaming-board hieroglyph which stands for the consonants mn. Egyptologists make the sounds pronounceable by putting an e between the consonants, so mn is read as men. -
11 Cuneiform and Hieroglyphs 11
The Unicode® Standard Version 12.0 – 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. © 2019 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 12.0. Includes index. ISBN 978-1-936213-22-1 (http://www.unicode.org/versions/Unicode12.0.0/) 1. -
Automatic Egyptian Hieroglyph Recognition by Retrieving Images As Texts
Automatic Egyptian Hieroglyph Recognition by Retrieving Images as Texts Morris Franken and Jan C. van Gemert Intelligent Systems Lab Amsterdam (ISLA), University of Amsterdam Science Park 904 Amsterdam, The Netherlands Antechamber Burial chamber ABSTRACT Mediterranean Sea Offering hall Corridor chamber Satellite pyramid In this paper we propose an approach for automatically rec- Rosetta Damietta Courtyard Alexandria Buto ognizing ancient Egyptian hieroglyph from photographs. To Sais Tanis Pelusium Busiris this end we first manually annotated and segmented a large Naukratis Avaris Wadi Natrun Bubastis Nile Delta Entrance chapel Merimda Great Bitter collection of nearly 4,000 hieroglyphs. In our automatic ap- Heliopolis Lake Giza Cairo Mortuary temple Pyramid of Unas Memphis proach we localize and segment each individual hieroglyph, Helwan Faiyum Lower determine the reading order and subsequently evaluate 5 Lake MoerisMeydum Lahun Egypt (b) visual descriptors in 3 different matching schemes to evalu- Herakleopolis Gulf of Suez ate visual hieroglyph recognition. In addition to visual-only Nile river cues, we use a corpus of Egyptian texts to learn language Beni Hasan Hermopolis models that help re-rank the visual output. Amarna Asyut Badari Eastern Desert Qau Categories and Subject Descriptors Western Desert Akhmim Thinis Abydos Nile river Dendera Kharga Oasis Naqada Koptos H.3 [Information Storage and Retrieval]: Information Wadi Hammamat Thebes Tod (Luxor and Karnak) N Search and Retrieval; I.4 [Image Processing and Com- NW NE Upper W E Hierakonpolis SW SE puter Vision]: Features Measurement|Feature represen- S Egypt Edfu 0 (km) 100 0 (mi) 60 tation, size and shape Kom Ombo (a) (c) Keywords Figure 1: The pyramid of Unas. -
EMOJIS: NEEDLESS Or GENIUS?
EMOJIS: NEEDLESS or GENIUS? For the first time ever, an emoji was given the Word of the Year Award by The Oxford English Dictionary (OED) in 2015. The ‘face with tears of joy’ emoji was chosen not only due to the rapid increase of the use of emojis as a visual communication tool, but also because it was the most used emoji globally, across all cultures in 2015 (Oxford Dictionaries, 2015). This is significant when Figure 2. ‘face with tears of joy’ - word of the you compare the social and political year in 2015 (Oxford Dictionaries, 2015). differences between cultures, yet there is a common understanding of the ‘face with tears of joy’ emoji. Even though this Figure 1. ‘Face with tears of joy’ is the case with the ‘face with tears of joy’ emoji (KissPNG, 2018) emoji, the same rule does not apply to all. Some cultures use emojis differently to others. One thing however is common, and that is their ability to transform and to galvanize, transform and support support text by posing as digital body intended meaning in text and can be language. observed through the higher level of understanding by the recipient when As a predominantly digital culture in they are used. the 21st century, we are visually driven and possess a need to better express To better understand emojis, I will ourselves through the digital interactions investigate their role and classification we participate in daily, which mostly, in semiotics, explore their creation and lack physical human interaction. This interpretation, how they transform essay will argue that emojis, despite their and support text and their social and Figure 3. -
Writing Systems: Ancient Egyptian Scripts
Ancient Egytian scripts 9/27/05 12:04 AM Writing systems: abjads | alphabets | syllabic alphabets | syllabaries | complex scripts undeciphered scripts | alternative scripts | your con-scripts | A-Z index Ancient Egyptian scripts Origins of Egyptian Hieroglyphs Hieroglyphs representing one consonant Hieroglyphs representing two consonants Hieroglyphs representing three consonants Hieroglyphic determinatives Numerals Hieratic script Demotic script Coptic alphabet Books about Egyptian Hieroglyphs Links Origins of Egyptian Hieroglyphs The ancient Egyptians believed that writing was invented by the god Thoth and called their hieroglyphic script "mdw-ntr" (god's words). The word hieroglyph comes from the Greek hieros (sacred) plus glypho (inscriptions) and was first used by Clement of Alexandria. The earliest known examples of writing in Egypt have been dated to 3,400 BC. The latest dated inscription in hieroglyphs was made on the gate post of a temple at Philae in 396 AD. The hieroglyphic script was used mainly for formal inscriptions on the walls of temples and tombs. In some inscriptions the glyphs are very detailed and in full colour, in others they are simple outlines. For everyday writing the hieratic script was used. After the Emperor Theodsius I ordered the closure of all pagan temples throughout the Roman empire in the late 4th century AD, knowledge of the hieroglyphic script was lost until the early 19th century, when a French man named Jean-Francois Champollion (1790-1832) managed to decipher the script. Notable features Possibly pre-dates Sumerian Cuneiform writing - if this is true, the Ancient Egyptian script is the oldest known writing system. Another possibility is that the two scripts developed at more or less the same time. -
On the Demise of Egyptian Writing: Working with a Problematic Source Basis
Originalveröffentlichung in: Baines, John /Bennet, John / Houston, Stephen (Hg.), The disappearance of writing systems: Perspectives on literacy and communication, London 2008, S.157–181 On the Demise of Egyptian Writing: Working with a Problematic Source Basis Martin Andreas Stadler For the study of the end of Egyptian writing Systems, demotic is of special rel- evance, because Egyptian texts continued to be notated in demotic long after other Egyptian Scripts were abandoned ('Demotic' refers to the Egyptian lan- guage of 650 BC onwards and 'demotic' to the Script). The demotic Philae graf- fiti are the latest of all Egyptian inscriptions. Therefore the focus should lie on demotic, which underwent dramatic changes from being originally an everyday script to one that became perfectly acceptable for religious texts. However, the case of hieroglyphic and its demise is also revealing and should be compared to the end of demotic. I therefore discuss the following topics: After summarizing the models that Egyptologists have proposed for interpreting the disappearance of Egyptian Scripts and culture, I discuss briefly the ups and downs of Egyptian writing competence throughout Egyptian history. I then ask whether avail- able sources and data allow us to draw definite conclusions. I explore in some detail the impact of increasing complexity in hieroglyphic temple inscriptions in the Ptolemaic and Roman periods in the wider context of the development of intellectual trends in that epoch. Finally, I reflect on whether demotic followed the same trajectory as hieroglyphic when it applied so-called unetymological or phonetic writings, which turned demotic into a script of restricted knowledge. -
Poetry, Portrait, Poetrait
Poetry, Portrait, Poetrait Steven Winspur ABSTRACT. The aim of this essay is to show how a writing of visible traits has been an ideal shared by writers of (and commentators on) French poetry for at least the last two hundred years. I use the term trait in its various meanings, both as personal attribute and as written or, especially, painted trace: according to the etymology of por-tray, the trait "drawn forth" in a painting or what I call a "poetrait," preserves some vital element of the object or person portrayed. In order to define this writing of traits, I begin by examining some early texts of the 18th and 16th centuries that propose such a writing. After contrasting the trait with the concept of an arbitrary linguistic sign, I go on to show how the trait depends for its existence on the displacement of meaning inherent in figurative language, and especially in poetry. An analysis of poems by Eluard and Saint-John Perse forms the basis for my argu ment that a poetic writing of traits, inviting the reader to seek meanin'g in a poem's visual form, rests on a myth of the portrait whereby the marks of a written language are drawn directly from nature. The eighteenth-century notion of a pictographic script that preceded and gave birth to the earliest written alphabet still exerts a hold on the popular imagination of today, despite attacks against the philosophical and linguistic premisses of such a view that have been made over the last twenty years. 1 The fact that this notion has not undergone radical reform over the last two hundred years can be seen from the two juxtaposed com mentaries on the origin of writing that follow- the first from de Brasses's two-volume Treatise on the Mechanical Formation of Languages that was published in Paris in 1765,2 and the second, the entry for "cuneiform," from The New Harper's Bible Dictionary whose eighth edition appeared in New York (Harper and Row) in 1973: When the natural figures [i.e.