Aramaic Incantation Texts from Nippur
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49 Original Article TWO UNPUBLISHED WOODEN LIDS NOS.1410 and 1411 in EL
Egyptian Journal of Archaeological and Restoration Studies "EJARS " An International peer-reviewed journal published bi-annually Volume 6, Issue 1, June - 2016: pp: 49-57 www. ejars.sohag-univ.edu.eg Original article TWO UNPUBLISHED WOODEN LIDS NOS.1410 AND 1411 IN EL- ASHMUNEIN MAGAZINE Safina, A. Egyptology dept., Faculty of Archaeology, Fayoum Univ., Egypt. E-mail: [email protected] Received 29/2/2016 Accepted 14/5/2016 Abstract The main purpose of this article is the publication and study of two wooden lids in El- Ashmunein Magazine. Illustrated drawings are produced for the first time. The complete text of the five columns of hieroglyphs on the lid No.1410 and of the four columns of the lid No. 1411 are the Nut formula, PT 638- 639 (sections a-d), which were incorporated later into the th last part of the 178 chapter of the Book of the Dead. Keywords: Baboon coffin lid, Pyramid Texts, The underground galleries at Tuna el-Gebel. 1. Introduction The two sycamore wooden lids Gebel (c) [2]. Similar burials were found with which we are concerned in this at Saqqara where, after mummification, paper were probably presented to El- most of the upper level baboons were Ashmunein Magazine by S. Gabra (a) . linen-wrapped and each was deposited They were bequeathed to the museum in its own purpose-built rectangular as part of a collection of wooden wooden box without a plaster filling. objects (b) [1] probably all made in the The boxes were placed in niches which same carpenter’s workshop since they were sealed with limestone slabs [3,4] . -
Special Collections and University Archives Pages From
Special Collections and University Archives Pages from the Past: Original leaves from Rare Books and Manuscripts Manuscript Group 178 For Scholarly Use Only Last Modified January 29, 2015 Indiana University of Pennsylvania 302 Stapleton Library Indiana, PA 15705-1096 Voice: (724) 357-3039 Fax: (724) 357-4891 Manuscript Group 178 2 Pages from the Past: Original leaves from Rare Books and Manuscripts; Manuscript Group 178 Indiana University of Pennsylvania, Special Collections and University Archives 4 folios; 4 linear feet Historical Information The “Pages from the Past: Original leaves from Rare Books and Manuscripts” (1964) were proprietorial folios that Alfred W. Stites assembled, individually signed, and marketed to academic libraries in the 1960s. In 1966, Stites was president of Stites Associates in Washington, DC, and he amassed several thousand leaves that were removed from rare books and manuscripts and collected by earlier bibliophiles. The original intent of the creation of these folio collections was to address “the concern of rare book collectors today, that the price of a book only a few centuries old had become too costly.” The folios created an affordable way for academic libraries to purchase many examples of artifacts, rare books, and manuscripts. Please note that although these folios have educational and research potential for those interested in the history of the written word and European printing presses, the IUP Special Collections and University Archives does not condone the unnecessary separation of leaves from any rare book or manuscript. Stites created 122 portfolio sets of leaves removed from rare books and manuscripts that were sold to academic libraries (including the IUP Libraries). -
Draw the Circle: the 40 Day Prayer Challenge
Draw the Circle The 40 Day Prayer Challenge Mark Batterson New York Times Bestselling Author of The Circle Maker Contents Cover Title Page Introduction Day 1: Get Ready Day 2: Established by God Day 3: Amazing Things Day 4: Don’t Pray Away Day 5: Write It Down Day 6: Shameless Audacity Day 7: Put on Waders Day 8: One God-Idea Day 9: Dream Factory Day 10: Crazy Faith Day 11: First-Class Noticer Day 12: Sow a Seed Day 13: One Day Day 14: Speak to the Mountain Day 15: Contend for Me Day 16: Lord, Surprise Me Day 17: Do Not Delay Day 18: Keep Circling Day 19: Memorial Offerings Day 20: Go. Set. Ready Day 21: Set Your Foot Day 22: Prayer Fleece Day 23: Not Now Day 24: Find Your Voice Day 25: A Prophetic Voice Day 26: Game with Minutes Day 27: Double Circle Day 28: Quit Praying Day 29: A New Prayer Day 30: Abide in Me Day 31: Spell It Out Day 32: Get a Testimony Day 33: Prayer Covering Day 34: Raise Up a Remnant Day 35: The Longest Lever Day 36: Senior Partner Day 37: Prayer Contracts Day 38: Climb the Watchtower Day 39: Holy Ground Day 40: Prayer Alphabet Notes About the Author Resources by Mark Batterson Copyright About the Publisher Share Your Thoughts Introduction The forty-day prayer challenge is going to change your life. In fact, the next forty days have the potential to dramatically alter the rest of your life. God is going to begin a good work in you, and He is going to carry it to completion. -
University of Alberta 'Indo-Jazz Fusion'
University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin. -
Fundamental Truths About Handwriting
Appendix A Fundamental Truths About Handwriting 1. The act of writing is a skill learned through repetition until it becomes a habit. 2. Handwriting requires the concerted effort of the brain, muscles, and nerves. 3. No two people write exactly alike. 4. Individual characteristics that are unique to a particular writer exist in every person’s handwriting, distinguishing it from every other handwriting. 5. There is natural variation in everyone’s handwriting. 6. No one can exactly duplicate anything he or she has written. 7. No one can write better than his or her skill level. 8. People adopt writing styles. 9. People stylize their writing, deviating from the method they were taught. 10. Many writing habits are subconscious and therefore cannot be changed by the writer. 11. A writer can be identified by his or her subconscious habits. 12. A person’s normal form of writing is based on mental images of learned letter designs. 13. A person’s handwriting changes over the course of his or her lifetime. 14. Substance abuse affects handwriting. 15. Some illnesses, trauma, and emotions may result in changes in handwriting. 16. It is not possible to determine what caused a change in the handwriting from studying the handwriting characteristics. 17. If the writer places the pen on the paper before starting to write, the lines will have blunt initial strokes. 18. If the writer stops the pen before lifting it from the paper, the writer will leave a blunt ending on the words. 19. If the writer has the pen in motion when beginning and ending writing, the initial and terminal strokes will be tapered or faded. -
Chirography Maria Weyraugh
Chirography Maria Weyraugh Part III Helpful hints and fast track rules in writing Copperplate, Roundhand and or Engraver’s Script In our early years, as students of printing and cursive writing, the most likely rules of writing were, under the “Palmer” method. Even so, as our letters were formed and graded upon, as we copied them from examples posted around the room or over the blackboard, once we moved forward into the Intermediate and High School levels, our writing wasn’t graded though it was helpful to be readable. In this transition where our teachers forced the student to follow the boundaries of rule in writing each letter and or number, our overseeing ceased as we progressed in studies of a higher level. Having to write faster as to keep up with notes, it was easy for me and no doubt for others, to become lazy and take as little time as possible in our writing. If we were aware of our sloppy writing and wished to impress our teacher before handing in any written assignment, we were apt to be copying more slowly, form our letters more clearly as we copied from our draft. First, the writer needs to be sitting in a comfortable position. If you are not comfortable, your writing will not be either. Second, the writer needs to understand that the goose quill or the metal nib, even older fountain pens, will never withstand extremely harsh pressure on the tip or writing surface of the nib. Some nibs are more flexible than others. The learning process is learning from “touch” or “feel” as you write. -
Global Index with Hyperlinks to PDF Files
Index A allography, 129, 134, 136, 232, 233 alphabet, 89, 144–148, 150, 152, abbreviation, 14, 15, 32, 33, 60–63, 154, 155, 157, 166, 168– 76, 77, 91, 269, 282, 378, 170, 172, 177, 180, 182, 514, 631, 719, 819, 946, 185–187, 218, 223–230, 1078 232, 234–236, 241, 242, marker, 15 244, 429, 432, 463, 473, abjad, 51, 53, 54, 60, 76, 134, 178, 569, 763, 765, 807, 810, 180, 228, 625, 781, 807– 811, 822, 825, 829, 831, 811, 820, 822, 910, 1109 837, 841, 888, 907, 908, Abkhaz, 115 910, 916, 1109, 1112 abstract, 561, 563, 565, 567 a monument to hidebound object, 9 conservatism, 114 abugida, 54, 162, 163, 165, 177, Arabic, 910 180, 184, 228, 625, 807– Aramaic, 166 811, 818–820, 822 Armenian, 166, 185, 186 acrophonic, 208, 232 Bougainvillian, 837 principle, 168, 224, 232 Carian, 181, 182, 232, 233 acrostics, 1109, 1111–1113, 1116 consonantal, 208, 218, 810, Adobe, 441 811 Aegean, 807, 809 Coptic, 184, 775, 776, 778, 780 Aidarus, 980 Cyrillic, 115, 154, 1068, 1070, Ajami, 971 1080 Akkadian, 59, 116, 117, 216, 218, dual, 14 929, 1112 English, 825 al-Busiri, 980 Entlehnungs-, 150 al-Inkishafi, 977 Etruscan, 170, 171, 916 Albanian, 166, 373, 392 Georgian, 793 aleph, 466, 1114, 1115 Gothic, 166, 224 Algerian (typeface), 397 Greek, 115, 167–171, 182, 187, Algernon, 276, 278 225, 226, 230–232, 234, Alice in Wonderland, 350, 351 775–779, 781 alloglottoepy, 790 Hebrew, 231, 497 alloglottography, 790 history, 157 βʹ Index Korean, 807 476, 478, 479, 497, 498, Latin, 147, 151, 154, 171, 176, 530, 564, 568, 580, 622, 182, 300, 305, 443, 445, 625, 760, 810, 835, -
Page Header Goes Here
Page Header Goes Here Footer goes here. 89 Welcome TABLE OF CONTENTS Dear Pastors, Bargains, Bulk Buys & Clearance 32, 33, 46, 47 There are ways of doing church that no one has thought of yet. Bestsellers . .3, 4, 51–53 That core conviction is what gets me up early and keeps me up late Bible Covers & Accessories . .32 every day. I genuinely believe that the church ought to be the most cre- Bibles . .20, 29, 32, 55–65, 88 ative place on the planet. But the reality is that most leaders stop leading Amplified, One-Year & Parallel 56, 58, 60, 62 out of imagination and start leading out of memory. That’s the day we Audio, DVD & Electronic . .20, 56 stop creating the future and start repeating the past. Children’s & Teen . .29, 56, 60, 61 So how do we keep imagination from atrophying? Theand short the answer best God is prayer. Prayer is the difference between the best we can do ESV . .32, 57– 59, 61, 62, 64, 65 can do. And it’s the one thing we cannot delegate as leaders. In fact, we HCSB . .57 need to set the standard. Creating a prayer culture may be the most diffi- KJV . .56–59, 62–64 cult thing you ever do, but it’s also the most important role you play as a Life Application . .63 pastor. Message, The . .57 Every year we do a 40-Day Prayer Challenge at National Community Church. It sets the tone and Ministry & Outreach . .58 sets the stage for growth. The ultimate objective is to help people cultivate a prayer habit. -
John Zorn Et À Son Label (Tzadik : L'esthétique Discographique Selon John Zorn, Paru En 2015)
1 2 PRÉSENTATION DU CONFÉRENCIER François-Xavier Féron est musicologue, titulaire d’un master en acoustique musicale (Paris VI- IRCAM) et d’un doctorat en musicologie (Paris IV). Après avoir enseigné à l’université de Nantes, il a travaillé successivement, en tant que chercheur postdoctoral, au CIRMMT (Université McGill, Montréal) et dans l’équipe Analyse des Pratiques Musicales à l’IRCAM (Paris). En 2013, il intègre le CNRS et rejoint le LaBRI/SCRIME (Université de Bordeaux). Ses recherches se concentrent sur les pratiques musicales aux XXème et XXIème siècles et plus spécifiquement sur l’impact des recherches en acoustique sur les processus de création artistique. Il a dirigé le numéro de la revue Circuit : musiques contemporainesconsacré à John Zorn et à son label (Tzadik : l'esthétique discographique selon John Zorn, paru en 2015) 3 JOHN ZORN Né à New York en 1953, John Zorn se passionne dès l'enfance pour toutes sortes de musiques, via la radio et les disques de son père. Il apprend le piano et la guitare en autodidacte et entre en 1967 à la United Nations International School de Manhattan, où il commence à étudier la composition, études poursuivies à la Webster University de Saint Louis (Missouri). S'il s'intéresse aux travaux de John Cage, Karlheinz Stockhausen, Luigi Nono, il demeure un auditeur d'une insatiable curiosité. Jacques Coursil, qui fut son professeur, dit de lui : "Les musiques, il les a toutes entendues : Zorn a le monde entier dans la tête et il est libre."* C'est également un passionné de cinéma qui envisage un temps une carrière de réalisateur. -
A Study on Quantitative Evaluation of Calligraphy Characters
Computer Technology and Application 7 (2016) 103-122 D doi: 10.17265/1934-7332/2016.02.005 DAVID PUBLISHING A Study on Quantitative Evaluation of Calligraphy Characters Zelong Wang1, Mengyuan Liao1 and Zenichiro Maekawa2 1. Department of Advanced Fibro-Science, Kyoto Institute of Technology, Kyoto 606-8585, Japan 2. Future-Applied Conventional Technology Center, Kyoto Institute of Technology, Kyoto 606-8585, Japan Abstract: In this study, a numerical method was proposed to evaluate the calligraphy work called calligraphy evaluation system. Four classical chirographies of “Kaisho”, “Gyosho”, “Sousho” and “Hiragana”, and 47 characters for each chirography, were selected and analyzed by this system. The “Sumi” distribution of character was clarified from 12 directions and summarized into four parts of horizontal part, diagonal left part, vertical part and diagonal right part. The character‟s contour line was converted to a signal data in order to calculate roundness index. The degree of character‟s radian was presented by roundness index. The smooth index was calculated at the same time. Additionally, width index, “Sumi” ratio, stability index also were calculated to contrast the features of each style. The main character points of four styles of “Kaisho”, “Gyosho”, “Sousho”, “Hiragana” were extracted to compare each other, and provide a reference for learners. The learners could obtain the quantitative data to understand their work‟s characteristics. It can also be compared with other person‟s work by this system in order to improve learners‟ writing skill. Key words: Calligraphy, chirography, quantization, evaluation, regular script, running script, cursive script, hiragana. Nomenclature are divided into two big flows of the phonogram and the ideograph at present. -
Calligraphy in East Asian Cinema
Brushed in Light Brushed in Light Calligraphy in East Asian Cinema Markus Nornes University of Michigan Press Ann Arbor Copyright © 2021 by Markus Nornes All rights reserved Tis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photographs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ For questions or permissions, please contact [email protected] Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid-free paper First published February 2021 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication data has been applied for. DOI: https://doi.org/10.3998/mpub.11373292 ISBN: 978-0-472-13255-3 (hardcover : alk. paper) ISBN: 978-0-472-90243-9 (OA e-book) Frontispiece calligraphy of the author’s name by Nishigaito Koshun. Cover calligraphy by Torii Haru, with 35mm flmstrip from the author’s collection. Chapter number calligraphy by various ancient masters, mostly from stele rubbings. End credit title on page 145 from Mizoguchi Kenji’s Downfall of Osen (Orizuru Osen, 1935). -
20110829 Tzadik Catalogue
Complete Tzadik Catalog - by Series Composer #8082 Сер.11 Jeremiah Cymerman : Fire Sign #8081 Тра.11 George Lewis : Les Exercices Spirituels #8080 Кві.11 Ryan Francis : Works For Piano #8079 Лют.11 Ron Anderson’s Pak : Secret Curve #8078 Січ.11 Gyan Riley : Stream Of Gratitude #8077 Лис.10 Matthew Welch : Blarvuster #8076 Жов.10 John Zorn : What Thou Wilt #8075 Лип.10 Karl Berger : Strangely Familiar #8074 Тра.10 Scott Johnson : Americans #8073 Кві.10 Ned Rothenberg : Quintet For Clarinet And Strings #8072 Бер.10 J.G. Thirlwell : Manorexia: The Mesopelagic Waters #8071 Лют.10 John King : 10 Mysteries #8070 Лют.10 Terry Riley : Autodreamographical Tales #8069 Січ.10 Noah Creshevsky : The Twilight of the Gods #8068 Лис.09 Jose Maceda : Ugnayan #8067 Жов.09 David Simons : Fung Sha Noon #8066 Вер.09 Ahleuchatistas : Of the Body Prone #8065 Вер.09 Mario Diaz de Leon : Enter Houses Of #8064 Кві.09 Stabat Akish : Stabat Akish #8063 Лис.08 Wu Fei : Yuan #8062 Бер.09 Bill Laswell : Invisible Design II #8061 Жов.08 Mamoru Fujieda : Patterns of Plants II #8060 Вер.08 Paola Prestini : Body Maps #8059 Вер.08 Peter Garland : Three Strange Angels #8058 Сер.08 Teiji Ito : Watermill #8057 Сер.08 Anthony Pateras : Chromatophore #8056 Сер.08 Berangere Maximin : Tant que les Heures Passent #8055 Сер.08 Maryanne Amacher : Sound Characters vol. 2 #8054 Чер.08 Lukas Ligeti : Afrikan Machinery #8053 Чер.08 Keeril Makan : In Sound #8052 Тра.08 Elliott Sharp : String Quartets: 2002–2007 #8051 Кві.08 Maja S.K. Ratkje : River Mouth Echoes #8050-3 Кві.08 The Hub