Full Phonetic Complementation, Semantic Classifiers, and Semantic Determinatives in Ancient Mayan Hieroglyphic Writing
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With the Protection of the Gods: an Interpretation of the Protector Figure in Classic Maya Iconography
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2012 With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography Tiffany M. Lindley University of Central Florida Part of the Anthropology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Lindley, Tiffany M., "With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography" (2012). Electronic Theses and Dissertations, 2004-2019. 2148. https://stars.library.ucf.edu/etd/2148 WITH THE PROTECTION OF THE GODS: AN INTERPRETATION OF THE PROTECTOR FIGURE IN CLASSIC MAYA ICONOGRAPHY by TIFFANY M. LINDLEY B.A. University of Alabama, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2012 © 2012 Tiffany M. Lindley ii ABSTRACT Iconography encapsulates the cultural knowledge of a civilization. The ancient Maya of Mesoamerica utilized iconography to express ideological beliefs, as well as political events and histories. An ideology heavily based on the presence of an Otherworld is visible in elaborate Maya iconography. Motifs and themes can be manipulated to convey different meanings based on context. -
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. -
Bibliography
Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P. -
The Rulers of Palenque a Beginner’S Guide
The Rulers of Palenque A Beginner’s Guide By Joel Skidmore With illustrations by Merle Greene Robertson Citation: 2008 The Rulers of Palenque: A Beginner’s Guide. Third edition. Mesoweb: www. mesoweb.com/palenque/resources/rulers/PalenqueRulers-03.pdf. Publication history: The first edition of this work, in html format, was published in 2000. The second was published in 2007, when the revised edition of Martin and Grube’s Chronicle of the Maya Kings and Queens was still in press, and this third conforms to the final publica- tion (Martin and Grube 2008). To check for a more recent edition, see: www.mesoweb.com/palenque/resources/rulers/rulers.html. Copyright notice: All drawings by Merle Greene Robertson unless otherwise noted. Mesoweb Publications The Rulers of Palenque INTRODUCTION The unsung pioneer in the study of Palenque’s dynastic history is Heinrich Berlin, who in three seminal studies (Berlin 1959, 1965, 1968) provided the essential outline of the dynasty and explicitly identified the name glyphs and likely accession dates of the major Early and Late Classic rulers (Stuart 2005:148-149). More prominent and well deserved credit has gone to Linda Schele and Peter Mathews (1974), who summarized the rulers of Palenque’s Late Classic and gave them working names in Ch’ol Mayan (Stuart 2005:149). The present work is partly based on the transcript by Phil Wanyerka of a hieroglyphic workshop presented by Schele and Mathews at the 1993 Maya Meet- ings at Texas (Schele and Mathews 1993). Essential recourse has also been made to the insights and decipherments of David Stuart, who made his first Palenque Round Table presentation in 1978 at the age of twelve (Stuart 1979) and has recently advanced our understanding of Palenque and its rulers immeasurably (Stuart 2005). -
Temples and Tombs Treasures of Egyptian Art from the British Museum
Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators this is max size of image at 200 dpi; the sil is low res and for the comp only. if approved, needs to be redone carefully American Federation of Arts Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators American Federation of Arts © 2006 American Federation of Arts Temples and Tombs: Treasures of Egyptian Art from the British Museum is organized by the American Federation of Arts and The British Museum. All materials included in this resource may be reproduced for educational American Federation of Arts purposes. 212.988.7700 800.232.0270 The AFA is a nonprofit institution that organizes art exhibitions for presen- www.afaweb.org tation in museums around the world, publishes exhibition catalogues, and interim address: develops education programs. 122 East 42nd Street, Suite 1514 New York, NY 10168 after April 1, 2007: 305 East 47th Street New York, NY 10017 Please direct questions about this resource to: Suzanne Elder Burke Director of Education American Federation of Arts 212.988.7700 x26 [email protected] Exhibition Itinerary to Date Oklahoma City Museum of Art Oklahoma City, Oklahoma September 7–November 26, 2006 The Cummer Museum of Art and Gardens Jacksonville, Florida December 22, 2006–March 18, 2007 North Carolina Museum of Art Raleigh, North Carolina April 15–July 8, 2007 Albuquerque Museum of Art and History Albuquerque, New Mexico November 16, 2007–February 10, 2008 Fresno Metropolitan Museum of Art, History and Science Fresno, California March 7–June 1, 2008 Design/Production: Susan E. -
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). -
Distribution Agreement in Presenting This Thesis Or Dissertation As A
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ____3/31/16__________ Shelley Burian Date Flowers of Re: The floral origins and solar significance of rosettes in Egyptian art By Shelley Burian Master of Arts Art History _________________________________________ Rebecca Bailey, Ph.D., Advisor _________________________________________ Gay Robin, Ph.D., Committee Member _________________________________________ Walter Melion, Ph.D., Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Flowers of Re: The floral origins and solar significance of rosettes in Egyptian art By Shelley Burian B.A., First Honors, McGill University, 2011 An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts In Art History 2016 Abstract Flowers of Re: The floral origins and solar significance of rosettes in Egyptian art By Shelley Burian Throughout the Pharaonic period in Egypt an image resembling a flower, called a rosette, was depicted on every type of art form from architecture to jewelry. -
Centuries of Silence : the Story of Latin American Journalism / Leonardo Ferreira
Centuries of Silence: The Story of Latin American Journalism Leonardo Ferreira PRAEGER CENTURIES OF SILENCE The Story of Latin American Journalism Leonardo Ferreira Library of Congress Cataloging-in-Publication Data Ferreira, Leonardo, 1957– Centuries of silence : the story of Latin American journalism / Leonardo Ferreira. p. cm. Includes bibliographical references and index. ISBN 0–275–98397–8 (alk. paper)—ISBN 0–275–98410–9 (pbk : alk. paper) 1. Press—Latin America—History. 2. Journalism—Political aspects—Latin America—History. I. Title. PN4930.F47 2006 079.8–dc22 2006015112 British Library Cataloguing in Publication Data is available Copyright c 2006 by Leonardo Ferreira All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006015112 ISBN: 0–275–98397–8 (cloth) 0–275–98410–9 (pbk) First published in 2006 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 To my eternal stars, mi Gaby, Taty, Luisita, Sarita, and Juanita. To my inspiring and beloved mom, the courageous Mary, and to my precious Angie. All determined women, like most others, born to figh for freedom and a sense of harmony in this troubled planet. Contents Preface ix Introduction: When Good News Is Bad News 1 1. Whose Truth on True Street 9 2. -
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. -
Determination in the Anatolian Hieroglyphic Script of the Empire and Transitional Period 223
Altorientalische Forschungen 2017; 44(2): 221–234 Annick Payne Determination in the Anatolian Hieroglyphic Script of the Empire and Transitional Period https://doi.org/10.1515/aofo-2017-0019 Abstract: The Anatolian Hieroglyphic script is a mixed writing system which contains both phonetic and semantographic signs. The latter may be used in the function of logogram and/or determinative. A dedicated study of the script’s determinatives has so far not been undertaken but promises insight into structures of mental organization and script development. Because of its pictorial character, individual signs can occasion- ally be shown to act in a dual capacity, as icons and signs of writing. This article forms part one of a diachronic study of the determinative system, and adresses the period 13th–10th century BC. Keywords: Ancient Anatolian writing systems, Anatolian Hieroglyphic script, determinatives Introduction In the Anatolian Hieroglyphic script (AH), determination is one function of the class of semantographic signs. Alternatively, semantographic signs may function as logograms. While logograms represent a word to be read out, determinatives are not intended to be read out, instead, they mark their host word as belonging to a specific semantic category. Thus, determinatives are mute graphemes that act as reading aids, and they are dependent on a host word; with very few exceptions,1 the determinative is placed in front of the host. Different relationships between determinative and host are possible: they may be coordinated or the host may be subordinate to a determinative representing a superordinate category under which several hosts may be subsumed. The script shows numerically equal relationships where one determinative is used for one host, with the aim of reinforcing – less frequently, obstructing – the reading, or of disambiguating it.