The Origins of Writing
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On the Origin of the Indian Brahma Alphabet
- ON THE <)|{I<; IN <>F TIIK INDIAN BRAHMA ALPHABET GEORG BtfHLKi; SECOND REVISED EDITION OF INDIAN STUDIES, NO III. TOGETHER WITH TWO APPENDICES ON THE OKU; IN OF THE KHAROSTHI ALPHABET AND OF THK SO-CALLED LETTER-NUMERALS OF THE BRAHMI. WITH TIIKKK PLATES. STRASSBUKi-. K A K 1. I. 1 1M I: \ I I; 1898. I'lintccl liy Adolf Ilcil/.haiisi'ii, Vicniiii. Preface to the Second Edition. .As the few separate copies of the Indian Studies No. Ill, struck off in 1895, were sold very soon and rather numerous requests for additional ones were addressed both to me and to the bookseller of the Imperial Academy, Messrs. Carl Gerold's Sohn, I asked the Academy for permission to issue a second edition, which Mr. Karl J. Trlibner had consented to publish. My petition was readily granted. In addition Messrs, von Holder, the publishers of the Wiener Zeitschrift fur die Kunde des Morgenlandes, kindly allowed me to reprint my article on the origin of the Kharosthi, which had appeared in vol. IX of that Journal and is now given in Appendix I. To these two sections I have added, in Appendix II, a brief review of the arguments for Dr. Burnell's hypothesis, which derives the so-called letter- numerals or numerical symbols of the Brahma alphabet from the ancient Egyptian numeral signs, together with a third com- parative table, in order to include in this volume all those points, which require fuller discussion, and in order to make it a serviceable companion to the palaeography of the Grund- riss. -
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. -
Technical Reference Manual for the Standardization of Geographical Names United Nations Group of Experts on Geographical Names
ST/ESA/STAT/SER.M/87 Department of Economic and Social Affairs Statistics Division Technical reference manual for the standardization of geographical names United Nations Group of Experts on Geographical Names United Nations New York, 2007 The Department of Economic and Social Affairs of the United Nations Secretariat is a vital interface between global policies in the economic, social and environmental spheres and national action. The Department works in three main interlinked areas: (i) it compiles, generates and analyses a wide range of economic, social and environmental data and information on which Member States of the United Nations draw to review common problems and to take stock of policy options; (ii) it facilitates the negotiations of Member States in many intergovernmental bodies on joint courses of action to address ongoing or emerging global challenges; and (iii) it advises interested Governments on the ways and means of translating policy frameworks developed in United Nations conferences and summits into programmes at the country level and, through technical assistance, helps build national capacities. NOTE The designations employed and the presentation of material in the present publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The term “country” as used in the text of this publication also refers, as appropriate, to territories or areas. Symbols of United Nations documents are composed of capital letters combined with figures. ST/ESA/STAT/SER.M/87 UNITED NATIONS PUBLICATION Sales No. -
A Translation of the Malia Altar Stone
MATEC Web of Conferences 125, 05018 (2017) DOI: 10.1051/ matecconf/201712505018 CSCC 2017 A Translation of the Malia Altar Stone Peter Z. Revesz1,a 1 Department of Computer Science, University of Nebraska-Lincoln, Lincoln, NE, 68588, USA Abstract. This paper presents a translation of the Malia Altar Stone inscription (CHIC 328), which is one of the longest known Cretan Hieroglyph inscriptions. The translation uses a synoptic transliteration to several scripts that are related to the Malia Altar Stone script. The synoptic transliteration strengthens the derived phonetic values and allows avoiding certain errors that would result from reliance on just a single transliteration. The synoptic transliteration is similar to a multiple alignment of related genomes in bioinformatics in order to derive the genetic sequence of a putative common ancestor of all the aligned genomes. 1 Introduction symbols. These attempts so far were not successful in deciphering the later two scripts. Cretan Hieroglyph is a writing system that existed in Using ideas and methods from bioinformatics, eastern Crete c. 2100 – 1700 BC [13, 14, 25]. The full Revesz [20] analyzed the evolutionary relationships decipherment of Cretan Hieroglyphs requires a consistent within the Cretan script family, which includes the translation of all known Cretan Hieroglyph texts not just following scripts: Cretan Hieroglyph, Linear A, Linear B the translation of some examples. In particular, many [6], Cypriot, Greek, Phoenician, South Arabic, Old authors have suggested translations for the Phaistos Disk, Hungarian [9, 10], which is also called rovásírás in the most famous and longest Cretan Hieroglyph Hungarian and also written sometimes as Rovas in inscription, but in general they were unable to show that English language publications, and Tifinagh. -
Assessment of Options for Handling Full Unicode Character Encodings in MARC21 a Study for the Library of Congress
1 Assessment of Options for Handling Full Unicode Character Encodings in MARC21 A Study for the Library of Congress Part 1: New Scripts Jack Cain Senior Consultant Trylus Computing, Toronto 1 Purpose This assessment intends to study the issues and make recommendations on the possible expansion of the character set repertoire for bibliographic records in MARC21 format. 1.1 “Encoding Scheme” vs. “Repertoire” An encoding scheme contains codes by which characters are represented in computer memory. These codes are organized according to a certain methodology called an encoding scheme. The list of all characters so encoded is referred to as the “repertoire” of characters in the given encoding schemes. For example, ASCII is one encoding scheme, perhaps the one best known to the average non-technical person in North America. “A”, “B”, & “C” are three characters in the repertoire of this encoding scheme. These three characters are assigned encodings 41, 42 & 43 in ASCII (expressed here in hexadecimal). 1.2 MARC8 "MARC8" is the term commonly used to refer both to the encoding scheme and its repertoire as used in MARC records up to 1998. The ‘8’ refers to the fact that, unlike Unicode which is a multi-byte per character code set, the MARC8 encoding scheme is principally made up of multiple one byte tables in which each character is encoded using a single 8 bit byte. (It also includes the EACC set which actually uses fixed length 3 bytes per character.) (For details on MARC8 and its specifications see: http://www.loc.gov/marc/.) MARC8 was introduced around 1968 and was initially limited to essentially Latin script only. -
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 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 ............................................ -
Arabic Alphabet - Wikipedia, the Free Encyclopedia Arabic Alphabet from Wikipedia, the Free Encyclopedia
2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia Arabic alphabet From Wikipedia, the free encyclopedia َأﺑْ َﺠ ِﺪﯾﱠﺔ َﻋ َﺮﺑِﯿﱠﺔ :The Arabic alphabet (Arabic ’abjadiyyah ‘arabiyyah) or Arabic abjad is Arabic abjad the Arabic script as it is codified for writing the Arabic language. It is written from right to left, in a cursive style, and includes 28 letters. Because letters usually[1] stand for consonants, it is classified as an abjad. Type Abjad Languages Arabic Time 400 to the present period Parent Proto-Sinaitic systems Phoenician Aramaic Syriac Nabataean Arabic abjad Child N'Ko alphabet systems ISO 15924 Arab, 160 Direction Right-to-left Unicode Arabic alias Unicode U+0600 to U+06FF range (http://www.unicode.org/charts/PDF/U0600.pdf) U+0750 to U+077F (http://www.unicode.org/charts/PDF/U0750.pdf) U+08A0 to U+08FF (http://www.unicode.org/charts/PDF/U08A0.pdf) U+FB50 to U+FDFF (http://www.unicode.org/charts/PDF/UFB50.pdf) U+FE70 to U+FEFF (http://www.unicode.org/charts/PDF/UFE70.pdf) U+1EE00 to U+1EEFF (http://www.unicode.org/charts/PDF/U1EE00.pdf) Note: This page may contain IPA phonetic symbols. Arabic alphabet ا ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع en.wikipedia.org/wiki/Arabic_alphabet 1/20 2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia غ ف ق ك ل م ن ه و ي History · Transliteration ء Diacritics · Hamza Numerals · Numeration V · T · E (//en.wikipedia.org/w/index.php?title=Template:Arabic_alphabet&action=edit) Contents 1 Consonants 1.1 Alphabetical order 1.2 Letter forms 1.2.1 Table of basic letters 1.2.2 Further notes -
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). -
The Personal Name Here Is Again Obscure. At
342 THE FIRST ARAMAIC INSCRIPTION FROM INDIA 1. 10 : " his conduct " ? 1. 11 : " and also his sons." 1. 12 : the personal name here is again obscure. At the end of the line are traces of the right-hand side of a letter, which might be samekh or beth; if we accept the former, it is possible to vocalize as Pavira-ram, i.e. Pavira-rdja, corresponding to the Sanskrit Pravira- rdja. The name Pravira is well known in epos, and might well be borne by a real man ; and the change of a sonant to a surd consonant, such as that of j to «, is quite common in the North-West dialects. L. D. BARNETT. THE FIRST ARAMAIC INSCRIPTION FROM INDIA I must thank Mr. F. W. Thomas for his great kindness in sending me the photograph taken by Sir J. H. Marshall, and also Dr. Barnett for letting me see his tracing and transliteration. The facsimile is made from the photo- graph, which is as good as it can be. Unfortunately, on the original, the letters are as white as the rest of the marble, and it was necessary to darken them in order to obtain a photograph. This process inti'oduces an element of uncertainty, since in some cases part of a line may have escaped, and in others an accidental scratch may appear as part of a letter. Hence the following passages are more or less doubtful: line 4, 3PI; 1. 6, Tpfl; 1. 8, "123 and y\; 1. 9, the seventh and ninth letters; 1. 10, ID; 1. -
Linguistic Study About the Origins of the Aegean Scripts
Anistoriton Journal, vol. 15 (2016-2017) Essays 1 Cretan Hieroglyphics The Ornamental and Ritual Version of the Cretan Protolinear Script The Cretan Hieroglyphic script is conventionally classified as one of the five Aegean scripts, along with Linear-A, Linear-B and the two Cypriot Syllabaries, namely the Cypro-Minoan and the Cypriot Greek Syllabary, the latter ones being regarded as such because of their pictographic and phonetic similarities to the former ones. Cretan Hieroglyphics are encountered in the Aegean Sea area during the 2nd millennium BC. Their relationship to Linear-A is still in dispute, while the conveyed language (or languages) is still considered unknown. The authors argue herein that the Cretan Hieroglyphic script is simply a decorative version of Linear-A (or, more precisely, of the lost Cretan Protolinear script that is the ancestor of all the Aegean scripts) which was used mainly by the seal-makers or for ritual usage. The conveyed language must be a conservative form of Sumerian, as Cretan Hieroglyphic is strictly associated with the original and mainstream Minoan culture and religion – in contrast to Linear-A which was used for several other languages – while the phonetic values of signs have the same Sumerian origin as in Cretan Protolinear. Introduction The three syllabaries that were used in the Aegean area during the 2nd millennium BC were the Cretan Hieroglyphics, Linear-A and Linear-B. The latter conveys Mycenaean Greek, which is the oldest known written form of Greek, encountered after the 15th century BC. Linear-A is still regarded as a direct descendant of the Cretan Hieroglyphics, conveying the unknown language or languages of the Minoans (Davis 2010).