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Journal articles on the topic 'Hieroglyf'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Simon, Zsolt. "Hol volt a hieroglif luvi KARKAMIŠ A4b felirat „Sura országa”, avagy miért hívták a görögök a kappadokiaiakat szíreknek?" Antik Tanulmányok 56, no. 2 (December 1, 2012): 201–13. http://dx.doi.org/10.1556/anttan.56.2012.2.1.

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A hieroglif luvi KARKAMIŠ A4b feliraton említett Sura országának azonosítása mindmáig megoldatlan, noha ez a helynév adatolt más hieroglif luvi feliratokon is. Az összes szöveghely filológiai elemzését követően (kizárva azokat, amelyeket tévesen olvasnak Surának) a földrajzi, történeti és filológiai bizonyítékok alapján kijelenthető, hogy a hieroglif luvi KARKAMIŠ A4b és A6 feliratok Sura országa és a görög források anatóliai syriosai ugyanarra a térségre, Kappadokiára utalnak, és hogy Sura volt a kappadokiai újhettita állam, Tabal helyi, luvi neve.

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2

Ju, Xiaoen, Hani Jamjoom, and Kang G. Shin. "Hieroglyph." Proceedings of the ACM on Measurement and Analysis of Computing Systems 1, no. 1 (June 13, 2017): 1–25. http://dx.doi.org/10.1145/3084446.

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3

Flo, Åslaug. "Hieroglyfer." Tidsskrift for Den norske legeforening 132, no. 4 (2012): 442. http://dx.doi.org/10.4045/tidsskr.12.0081.

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4

Ju, Xiaoen, Hani Jamjoom, and Kang G. Shin. "Hieroglyph." ACM SIGMETRICS Performance Evaluation Review 45, no. 1 (September 18, 2017): 5. http://dx.doi.org/10.1145/3143314.3078589.

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5

Xu, Xiao Li, Guo Xin Wu, Hong Jun Wang, and Tao Chen. "Construction of an International IT-Driven Sharing Platform for Inheriting and Communication of Dongba Manuscripts." Applied Mechanics and Materials 610 (August 2014): 760–63. http://dx.doi.org/10.4028/www.scientific.net/amm.610.760.

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Dongba hieroglyph among Naxi ethnic minority is the only globally recognized hieroglyph still in use. Dongba ancient manuscripts are registered on the list of Memory of the World by UNESCO. In order to secure the inheritance and communication of Dongba Manuscripts, we analyze the obstacles encountered in the process of inheritance and communication. We apply IT to construct a digital and network-oriented international Dongba Manuscripts information sharing platform to collect, sort out, extract and disseminate digitalized information of Dongba Manuscripts hieroglyph. Environment and technology support should be provided to carry out remote academic research and exchanges through the international sharing platform. Efforts should be made to seek digital channels to rescue and inherit Memory of the World, Dongba Manuscripts.

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6

Fischer, Henry George. "A Unique Composite Hieroglyph." Journal of the American Research Center in Egypt 38 (2001): 1. http://dx.doi.org/10.2307/40000548.

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7

Houston, Stephen, and Andréas Stauder. "What Is a Hieroglyph ?" L'Homme, no. 233 (February 27, 2020): 9–44. http://dx.doi.org/10.4000/lhomme.36526.

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8

Jones, P. M. E. "The Nature of the Hieroglyph." Journal of Egyptian Archaeology 75, no. 1 (August 1989): 245–46. http://dx.doi.org/10.1177/030751338907500127.

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9

Wojtasińska, Dominika. "Ciemny hieroglif, czyli o kolejnych próbach rozjaśniania Norwida." Studia Norwidiana 32 (2014): 261–80. http://dx.doi.org/10.18290/10.18290/sn.2019.37-16.

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10

Jones, P. M. E. "The Nature of the Hieroglyph [unknown]." Journal of Egyptian Archaeology 75 (1989): 245. http://dx.doi.org/10.2307/3821920.

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11

Pinilla-Buitrago, Laura Alejandra, Jesús Ariel Carrasco-Ochoa, José Fco Martínez-Trinidad, and Edgar Román-Rangel. "Improved Hieroglyph Representation for Image Retrieval." Journal on Computing and Cultural Heritage 12, no. 2 (June 21, 2019): 1–15. http://dx.doi.org/10.1145/3284388.

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12

Simon, Zsolt. "Az ANKARA-felirat és a Hettita Birodalom vége." Antik Tanulmányok 53, no. 2 (December 1, 2009): 177–94. http://dx.doi.org/10.1556/anttan.53.2009.2.1.

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A tanulmány első része az ankarai ezüsttál hieroglif luvi feliratának datálására tett javaslatokat tekinti át kritikailag. Ezt a felirat epigráfi ájának és tartalmának részletes elmezése követi, amely arra mutat rá, hogy a felirat sajátosságait csak egy olyan Tudhaliya nevű hettita nagykirállyal lehet megmagyarázni, aki a Hettita Birodalom felbomlása után élt. A tanulmány második fele azt vizsgálja, lehetséges-e ez a javaslat történelmi szempontból, különösen a tabali nagykirályok tükrében.

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13

Simon, Zsolt. "Hettita toposzok a hieroglif luvi történetírásban. Megjegyzések a kontinuitás kérdéséhez." Antik Tanulmányok 55, no. 2 (December 1, 2011): 181–96. http://dx.doi.org/10.1556/anttan.55.2011.2.1.

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Az elmúlt két évtized kutatása sokrétű politikai és kulturális folyamatosságot tárt fel a Hettita Birodalom és utódállamai között. Jelen dolgozat egy mindeddig nem vizsgált aspektust, az irodalom kérdését veszi szemügyre. Ugyan a vizsgálatnak a hagyományozódás sajátosságai miatt a historiográfiára kell korlátozódnia, a luvi szövegek motívumai és stíluseszközei segítségével mégis kimutatható, egyfelől e szövegek szerves folytatói a hettita történetírásnak; másfelől idővel számos egyedi vonást nyertek. Noha a hagyományozódás pontos technikai részletei még további kutatást kívánnak, a hettita nagykirályok monumentális feliratai, illetve a karkamiši utódállam bizonyosan központi szerepet játszottak.

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14

Lamprecht, Ingolf. "bjt. Calorimetric investigations around a royal hieroglyph." Thermochimica Acta 234 (March 1994): 179–200. http://dx.doi.org/10.1016/0040-6031(94)85143-3.

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15

Witko, Andrzej. "Juan de Valdés Leal i jego „Hieroglify śmierci”." Roczniki Humanistyczne 68, no. 4 (August 25, 2020): 7–38. http://dx.doi.org/10.18290/rh.2020.68.4-1.

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Juan de Valdés Leal (1622-1690) był jedną z najbardziej oryginalnych osobowości sewilskiego malarstwa, niekiedy uznawany nawet za najbardziej barokowego z hiszpańskich malarzy, artystę tworzącego ekspresyjne dzieła, ukazujące pełne napięcia postaci, o nerwowych gestach i ponurych twarzach, nierzadko o wyjątkowej brzydocie. Przypuszcza się, iż terminował w pracowni Antonia del Castillo w Kordobie od ok. 1644 r. Jego najstarsze prace wykazują cechy naturalistyczne, o twardym rysunku, żywej kolorystyce i pewnej przenikliwości. Widoczny jest w nich wpływ Juana de Ucedy, Francisca Vareli, Francisca de Herrery St. oraz Antonia del Castillo i Francisca de Zurbarána. Z kolei ekspresja postaci i zastosowanie światłocienia przywołują prace José de Ribery. Po roku 1655 jego płótna wskazują na ewolucję stylu w kierunku większej dynamiki, co było wynikiem wpływu Francisca de Herrery Mł. Rysunek artysty stał się wówczas lżejszy, kolorystyka bardziej lśniąca i przeźroczysta. W 1659 r. został mianowany miejskim egzaminatorem malarzy sewilskich, a rok później był jednym z założycieli Akademii Malarstwa, której z czasem został nawet prezesem. W roku 1664 przebywał na dworze królewskim i poznał bogate kolekcje monarsze oraz nawiązał liczne kontakty z innymi malarzami, m.in. Francisco Rizi i Claudio Coello. W 1667 został członkiem elitarnego bractwa La Caridad w Sewilli, dla którego w 1672 r. zrealizował kilka dzieł, m.in. słynne „Hieroglify śmierci” (In ictu oculi, Finis gloriae mundi), które sprawiły, iż artysta fascynuje nieprzerwanie swym spojrzeniem przekraczającym granice życia. Często też podejmował się innych aktywności niż malowanie obrazów sztalugowych, najczęściej złocąc retabula i wykonując polichromie. Tworzył także ryciny, ilustracje książkowe oraz rzeźby, które jednak nie zachowały się.

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16

Dolynska, Lubov, Yuliya Naumova, and Nataliia Shevchenko. "Psycholinguistic Features of Students’ Acquisition of Visual-Semantic Image of a Hieroglyph in Studying Japanese." PSYCHOLINGUISTICS 27, no. 1 (April 16, 2020): 30–51. http://dx.doi.org/10.31470/2309-1797-2020-27-1-30-51.

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Introduction. The article highlights psycholinguistic features of students’ acquisition of visual-semantic image of a hieroglyph in studying Japanese. The choice of the image category is justified by its ability to reflect in individual’s consciousness a complete picture of the object of cognition, which corresponds with the specific character of the hieroglyphic script. The visual-semantic image of a hieroglyphic sign has been defined as a complicated cognitive complex (mental image), which is an integral product of visual sensory-perceptual reception of all graphic elements of the hieroglyph formal structure, a coherent vision of it and conceptual representation, embodied in the meaning. Goal. The purpose of the article is to present results of the study of psycholinguistic features of students’ acquisition of visual-semantic images of hieroglyphs. The following techniques have been chosen as the main psychodiagnostic tools: «Pictograms» by О. Luria, «Hidden Figures» by K Gottschaldt, «Matching Familiar Figures» by J. Kagan, «Free Sorting of Objects» by R. Gardner in modification by V. Kolg. Results. Results of theoretical explorations on the psychological features of the problem of a personality’s acquisition of foreign languages, particularly, hieroglyphic, have been presented. It has been shown that interpretive capabilities of hieroglyphic signs are fundamentally different from the usual European method of linguistic codification of reality and that optimization ways of Oriental languages acquisition should be based on the differences between phonemic and hieroglyphic writing. Psycholinguistic peculiarities of students’ acquisition of the visual-semantic image of a hieroglyph have been revealed – character and structure of students’ visual and meaning images of hieroglyphic meanings have a significantly expressed individuality. The study of individual cognitive learning styles the educational information by students has shown that main cognitive skills and abilities are one of the factors of this success in combination with others; quality of the hieroglyphics acquisition improves with a good ability in systematization, generalization, unification of the unit into broad classes, as well as in the tendency to reasonableness.

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17

Hammermeister, Kai, and Angelika Rauch. "The Hieroglyph of Tradition. Freud, Benjamin, Gadamer, Novalis, Kant." German Quarterly 75, no. 2 (2002): 202. http://dx.doi.org/10.2307/3072659.

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18

Terekhova, N. V. "Etymological Analysis Model of the Chinese Hieroglyph: an Experiment." Bulletin of Kemerovo State University 21, no. 1 (May 29, 2019): 270–84. http://dx.doi.org/10.21603/2078-8975-2019-21-1-270-284.

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The paper presents a gradual model of etymological analysis of the Chinese hieroglyph. The research was based on the game approach logic expressed in the combination of Russian and Chinese linguistic analysis of Chinese characters. The established rules include verification of the graphic paradigm according to the stages of Chinese writing development. In addition, the rules involve grammatological, structural, semantic, and ideosemantic analyses. Individual research strategy included selection of linguistic, historical, and cultural sources for verification of the graphic-semantic characteristics of the Chinese character. The author applied a combination and sequence of research approaches and introduced an authentic analysis terminology. The authentic terminology was supported by analogies from Russian linguistics, as well as by the experience of etymologization of the character in Chinese philological science. The paper features a model of etymological analysis of the Chinese character. It consists of several stages/types of etymological reconstructions: formal-graphic,grammatical or structural, and semantic (including ideosemantic).The created etymological model was tested on the example of etymologization of the Chinese hieroglyph "cart" 車 che / ju. Its paradigm was verified according to its graphic variants, which belonged to the early stages of ancient Chinese writing, namely jinwen, jiaguwen, and zhuanti. The author determined the graphic-semantic core of the character. Its graphic sensemaking form was systematically analyzed on the basis of verification of its graphic and semantic characteristics. Finally, the author conducted a semantic and ideosemantic analysis of the character, which included historical and archeological data on Chinese material culture. As a result, the study helped to define the etymological meaning of the character.

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19

Pinilla-Buitrago, Laura Alejandra, Jesús Ariel Carrasco-Ochoa, and José Francisco Martínez-Trinidad. "Bag of k-nearest visual words for hieroglyph retrieval." Journal of Intelligent & Fuzzy Systems 36, no. 5 (May 14, 2019): 4981–90. http://dx.doi.org/10.3233/jifs-179044.

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20

Rauch, Angelika. "Culture's Hieroglyph in Benjamin and Novalis: A Matter of Feeling." Germanic Review: Literature, Culture, Theory 71, no. 4 (October 1996): 253–66. http://dx.doi.org/10.1080/00168890.1996.9938098.

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21

Déan, Philippe. "Diderot's hieroglyph: myth of language and birth of art criticism." Word & Image 15, no. 4 (October 1999): 323–36. http://dx.doi.org/10.1080/02666286.1999.10443996.

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22

Conacher, Agnes. "The Hieroglyph of Tradition: Freud, Benjamin, Gadamer, Novalis, Kant (review)." Criticism 43, no. 3 (2001): 352–55. http://dx.doi.org/10.1353/crt.2001.0025.

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23

Massey, Irving. "The Hieroglyph of Tradition: Freud, Benjamin, Gadamer, Novalis, Kant (review)." Criticism 44, no. 3 (2002): 293–97. http://dx.doi.org/10.1353/crt.2003.0006.

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24

Sáenz-Narciso, Beatriz, Eva Gómez-Orte, Angelina Zheleva, Rafael Torres-Pérez, and Juan Cabello. "The embryonic cell lineage of Caenorhabditis elegans : A modern hieroglyph." BioEssays 37, no. 3 (December 28, 2014): 237–39. http://dx.doi.org/10.1002/bies.201400202.

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25

Brown, Hilda. "Hieroglyph, Arabesque and the Problems of Collaboration in Romantic 'Buchkunst'." Oxford German Studies 37, no. 2 (November 2008): 203–22. http://dx.doi.org/10.1179/007871908x371702.

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26

Shalganov, Roman Dmitrievich, and Vladislav Mikhailovitch Karelin. "Hieroglyph as an Element of Ritual Language in Antonin Artaud’s Theatre." Manuskript, no. 9 (September 2020): 87–90. http://dx.doi.org/10.30853/manuscript.2020.9.16.

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27

Woronzoff, Alexander. "The Hieroglyph in Andrej Belyj's Peterburg: A Reading of Sisnarfne/Enfransis." Slavic and East European Journal 34, no. 1 (1990): 30. http://dx.doi.org/10.2307/309310.

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28

Depuydt, Leo. "Function and Significance of the Ebers Calendar's Lone Feast-Hieroglyph (Gardiner Sign-List W3)." Journal of Egyptian History 1, no. 1 (2008): 117–38. http://dx.doi.org/10.1163/187416608784118785.

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AbstractThe Ebers calendar exhibits one sole instance of. This hieroglyph accompanies the name wp rnpt, presumably as a determinative, whereas the 11 other names in the same column conspicuously lack it. It is proposed that marks wp rnpt as the name of a lunar day whereas the 11 other names are the names of lunar months. This contrast between day and month is placed in the context of a comprehensive analysis of the entire Ebers calendar and of the original lunar calendar and its organic relation with the dominant civil calendar that the Ebers calendar is believed to portray.

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29

DeGuzmán, María. "Fatal Hieroglyph: Mexico for Writers of Exile Malcolm Lowry and William Burroughs." Scripta 21, no. 42 (October 23, 2017): 217. http://dx.doi.org/10.5752/p.2358-3428.2017v21n42p217.

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30

Houston, Stephen. ": Understanding Maya Inscriptions: A Hieroglyph Handbook . John F. Harris, Stephen K. Stearns." American Anthropologist 95, no. 2 (June 1993): 484–85. http://dx.doi.org/10.1525/aa.1993.95.2.02a00510.

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31

Piroux, Lorraine. "Between a Hieroglyph and a Spatula: Authorlessness in Eighteenth-Century French Theater." Eighteenth-Century Studies 44, no. 3 (2011): 345–59. http://dx.doi.org/10.1353/ecs.2011.0014.

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32

Malek, Jaromir. "An Early Eighteenth Dynasty Monument of Sipair from Saqqâra." Journal of Egyptian Archaeology 75, no. 1 (August 1989): 61–76. http://dx.doi.org/10.1177/030751338907500106.

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The monument discussed here may have been the pedestal of a stela, but is only recorded in copies made by Hay and Wilkinson early in the last century (a small fragment which used to be in Berlin is now lost). Sipair was an ‘Overseer of the treasury’, probably under Amosis. His presumed tomb at Saqqâra would be the earliest New-Kingdom tomb known in the area. One of Sipair's epithets refers to chariotry, and the hieroglyph used in it is the earliest representation of a horse from ancient Egypt. Memphite examples of titles connected with chariotry are listed, and Second Intermediate Period and early Eighteenth Dynasty evidence from the Memphite area reviewed.

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33

Matsukawa, Kosuke. "Choice of voice in Maya hieroglyphic writing." Written Language and Literacy 12, no. 2 (December 15, 2009): 237–57. http://dx.doi.org/10.1075/wll.12.2.07mat.

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Maya hieroglyph writing was the prestigious writing system of the Maya civilization and was carved on stone or wooden monuments mainly during the Classic Period (ca. AD 250–900). Three types of voice (active voice, passive voice, and mediopassive voice) have been identified in Maya hieroglyphs. These three types of voice are not used randomly, and usually one of the three voice types is preferred for each verb. The choice of voice in Maya hieroglyphs seems to be constrained by the contextual nature of texts as historical records and the nature of the respective agent and patient. In this paper, I analyze what kinds of factors constrain the choice of voice in Maya hieroglyphic writing.

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34

오문의. "A Comparative Study on the Meaning Parts of Chinese Character and Egyptian Hieroglyph." CHINESE LITERATURE 62, no. ll (February 2010): 219–49. http://dx.doi.org/10.21192/scll.62..201002.010.

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35

Martin, Lucinda. "Hieroglyph, Emblem, and Renaissance Pictography., by Ludwig Volkmann (trans.) and Robin Raybould (ed.)." Aries 19, no. 2 (September 16, 2019): 299–300. http://dx.doi.org/10.1163/15700593-01902007.

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36

오문의. "A Comparative Study on the Meaning Parts of Chinese Character and Egyptian Hieroglyph(2)." CHINESE LITERATURE 67, no. ll (May 2011): 285–310. http://dx.doi.org/10.21192/scll.67..201105.011.

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37

Cooper, Andrew M. "The Collapse of the Religious Hieroglyph: Typology and Natural Language in Herbert and Bacon." Renaissance Quarterly 45, no. 1 (1992): 96–118. http://dx.doi.org/10.2307/2862832.

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Because rationalism and logocentrism have no eternal political essences, … they can be put to different political uses in different historical contexts. This is not to say that epistemological claims (or literary styles, or any other symbolic structures) are ideology-free and impervious to ideological analysis, only that the relation between the epistemological claim or other symbolic structure and the interests it serves is a contextual one that can change as the historical context changes.Oscar Kenshur, “(Avoidable) Snares and Avoidable Muddles”

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38

Pope, Stephanie. "“An Ægyptian darknesse”: pagan chronologies, historia sacra, and the hieroglyph in England, 1646-1690." Seventeenth Century 36, no. 1 (December 6, 2019): 149–76. http://dx.doi.org/10.1080/0268117x.2019.1698451.

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39

Godfrey, Joseph J. "Book Review: Hope and Its Hieroglyph: A Critical Decipherment of Ernst Bloch's Principle of Hope." Theological Studies 52, no. 1 (March 1991): 160–62. http://dx.doi.org/10.1177/004056399105200120.

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40

Stone, Andrea J. "KEEPING ABREAST OF THE MAYA: A STUDY OF THE FEMALE BODY IN MAYA ART." Ancient Mesoamerica 22, no. 1 (2011): 167–83. http://dx.doi.org/10.1017/s0956536111000137.

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AbstractThis paper discusses the importance of female breasts in gender construction in Maya art and explains artistic conventions and choices in their deployment. The visual analysis focuses on Late Classic pictorial vases and ceramic figurines. Rather than reflecting a natural body, the female breast was filtered through a cultural lens that drove its highly conceptual rendering in Maya art, mirrored in a breast hieroglyph. Through the principle of contrast, including morphology and absence vs. presence of breasts in specific pictorial contexts, Maya artists constructed female personae varying in age, class, supernatural status, and gender ambiguity. In order to flesh out the layered meaning of the breast, the paper turns to ethnographic studies of modern Maya medicine concerning the hot-cold system. It is argued that ethnographic data on women's bodies in medical discourse shed light on how the breast served as an index of age-based female stereotypes.

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41

Wade, Katherine Jane. "The sword and the knife: a comparison of ancient Egyptian treatment of sword injuries and present day knife trauma." Res Medica 24, no. 1 (December 31, 2017): 47–56. http://dx.doi.org/10.2218/resmedica.v24i1.1494.

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The Edwin Smith papyrus is the oldest known surgical treatise, thought to have been written in 1700 B.C. It was first discovered in Luxor in 1862 and was first translated from hieroglyph script by Egyptologist, James Henry Breasted in 1930. The papyrus details forty eight traumatic injuries which are topographically organised and considered formulaically through examination, diagnosis, prognosis and treatment.The Khopesh was an ancient Egyptian sickle shaped sword which was thought to have been used to inflict a slash-type sharp force injury during battle. Treatment of these slash-type wounds as described in the Edwin Smith papyrus are compared with the current treatment of equivalent slash-type injuries, commonly knife wounds in the twenty first century.Comparison of a variety of components involved in the treatment of historical and modern slash-type sharp force wounds has illustrated that despite advances in medical practice, some of the basic principles of our current treatment regimes are derived from practices established thousands of years ago by the ancient Egyptians.

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42

Saleh, Janine Monnet. "Remarques Sur Les Representations De La Peinture D'Hierakonpolis (Tombe N° 100)." Journal of Egyptian Archaeology 73, no. 1 (August 1987): 51–58. http://dx.doi.org/10.1177/030751338707300105.

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Reconsideration of the Hierakonpolis Painted Tomb in the light of the author's recent study of the so-called ‘boats’ found on Gerzean pottery. It is argued that the similar representations in the tomb are also incomprehensible as boats but perfectly intelligible as temples. The diagnostic characteristic is an entrance between two huts, but the prototype of the sḥ-ntr naos hieroglyph is also identified. The main difference from the potteryȔthe absence of supporting ‘stilts’Ȕreflects the desert environment of Hierakonpolis. Comparative study suggests that the decorative repertoire of the pots is here enlarged and placed in a human context, in which warfare is a prime element. An association is also postulated between the triple-vaulted hut of the tomb and the wrmt tent used in the funerary rites of Old Kingdom pharaohs under the patronage of Horus and Seth. This and other motifs, such as ‘smiting’, confirm the status of the tomb owner and his links with the later pharaonic tradition.

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43

Hula, Ibnu Rawandhy. "GENEALOGI ORTOGRAFI ARAB (Sebuah tinjauan Historis: Asal-usul, Rumpun Bahasa dan Rekaman Inskripsi)." `A Jamiy : Jurnal Bahasa dan Sastra Arab 9, no. 1 (June 16, 2020): 16. http://dx.doi.org/10.31314/ajamiy.9.1.16-46.2020.

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Penelusuran turunan bahasa Arab dari hulu sampai hilir sangat berkaitan dengan historisasi bangsa-bangsa yang pernah eksis di masa lampau, sehingga melahirkan penciri aksara dan karakteristik huruf dan model tulisannya. Penelitian ini berupaya mengungkap secara historis ortografi Arab dilihat dari aspek teori asal-usulnya, rumpun bahasanya dan bukti rekaman inskripsi yang telah ditemukan oleh para sejarawan dan arkeologi. Ortografi Arab dari hulunya berasal dari ortografi mesir kuno dalam bentuk Hieroglif, berbentuk ukiran, yang sebelumnya masih berbentuk Pictography (tulisan paku) dari bangsa Babilonia dan Sumeria (3000 SM) yang merupakan umat Nabi Nuh a.s. Dari nabi Nuh inilah maka para ahlipun memberikan pendapat bahwa rumpun bahasa Arab berasal bangsa Semit, yang dinisbatkan kepada anaknya (Sam bin Nuh). Ortografi Arab kemudian berkembang melahirkan ortografi Feniqi, selanjutnya terpecah dan melahirkan dua jenis ortografi: Arami dan Musnad, yang pada akhirnya menghasilkan jenis ortografi Nabti bercorak Kufi. Ortografi Nabti yang berpusat kota Petra-Yordania, kemudian berpindah dan menyebar lagi sampai hilir tanah Hijaz melalui Daumah al-Jandal. Bukti-bukti keberadaan ortografi Arab tersebut dapat diketahui dari temuan Inskripsi yang diyakini bahwa antara ortografi Nabti kufi memiliki beberapa kesamaan dengan ortografi Arab, dilihat dari penciri tanda vokal dan konsonannya. Inskripsi tersebut adalah 1) Inskripsi Ummu Jima>l (250 SM) 2) Inskripsi Nammarah/Imru al-Qais (300-328 M), 3) Inskripsi Zabad (512 M) 4) Inskripsi Harran/Hurron (568 M) 5) Inskripsi Umm Jimal II (600 M).

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Kandziora, Jerzy. "Odwoływanie granic (Biograficzne i poetyckie przekroczenia Jerzego Ficowskiego)." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 8, 2017): 79–93. http://dx.doi.org/10.24917/20811853.16.6.

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Revoking boundaries (Jerzy Ficowski’s biographical and poetic transcension) The article describes the phenomenon of “revoking” or transcending boundaries, present both in the family tradition and biography of Jerzy Ficowski and in his artistic choices. The biographical reflection focuses especially on the figure of the poet’s father, a bearer of the multicultural experiences of Polish communities in pre-revolutionary Russia, the post-war contacts Ficowski had with emigrant authors and the Jewish diaspora, as well as on the poet’s transcending the boundaries of state-censored works in the mid 1970s. At the same time, the article is looking for a iunctim between the openness encoded in Ficowski’s biography and his poetic language. In doing so, it describes the latter’s qualities, such as meaning inconstancy, semantic opalization of words, homonyms and antonyms incessantly destabilizing the boundaries of word and verse, that seem to be an equivalent of the discussed openness. In particular, attention is drawn to the influence the 1970s had on boosting the semantic potential of Ficowski’s poetry.Key words: Jerzy Ficowski; Tadeusz Ficowski; multiculturalism; hieroglyph; history in poetry; immigration literature;

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Jansen-Winkeln, Karl. "Beiträge zur Geschichte der Dritten Zwischenzeit." Journal of Egyptian History 10, no. 1 (April 11, 2017): 23–42. http://dx.doi.org/10.1163/18741665-12340032.

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In this short Beiträge three points relevant to the history of the Third Intermediate Period are presented. 1. The genealogical data of the family of the army scribe Nespaqashuty written on a fragmentary block statue from Karnak have hitherto been misunderstood. The owner of the statue is not Nespaqashuty ii, who lived in the time of Siamun, but a grandson of Amenemone i. The statue may have been dedicated by his son Ankhefenkhons during the time of Osorkon ii. 2. According to stela Cairo je 66285, the Libyan chief and later king Shoshenq i had a statue of his father Nimlot A erected in the temple of Abydos. The offering established for this statue is written with a hieroglyph simply to be read ḥtp “offering,” not ẖntj “statue” or qnyt “portable image” as proposed before. 3. Some aspects of the chronological and political relations between Bocchoris and Shabako and their predecessors Tefnakhte and Piankhy are considered as well as the supposed reason for the attack on Bocchoris by “Sabakôn.”

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DALBY, ANDREW. "ANNE MARIE CHRISTIN (ed.): A history of writing: from hieroglyph to multimedia. 403 pp. Paris: Flammarion, 2002. £45." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 527–29. http://dx.doi.org/10.1017/s0041977x03360355.

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Mankovskaya, Nadezda Borisovna. "Narcissus in a mirror image. Aesthetics of André Gide’s symbolism." Культура и искусство, no. 4 (April 2020): 71–84. http://dx.doi.org/10.7256/2454-0625.2020.4.31968.

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The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of André Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is interpreted as illusory, appears as combination of senses, or is left as side as nonexistent. The main conclusion of the conducted study consists in a statements that in the period of symbolism André Gide was sure that illusory character was extraneous to art. Disregarding the external, art must refer to the profound truth, heroic beginning of human personality. Emphasis is made on infiltration into the spheres of esoteric, mystical and spiritual. The article analyses André Gide’s “Treatise on Narcissus (The Theory of Symbol”), in which such worldview found its programmatic expression.

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Zhang, Meng. "Nonlinear Resistance Circuit Subsection Linearity Decomposition Fitting Analysis." Modern Electronic Technology 1, no. 1 (October 6, 2017): 5. http://dx.doi.org/10.26549/met.v1i1.518.

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The analysis of circuits is frequently required in the electricity of physics. When analyzing circuits, the general idea is to study the issues related to nonlinear resistance circuits based on commonly used physical and electrical theory. Generally, circuits can be divided into linear resistance circuits and nonlinear resistance circuits. However, for some nonlinear resistance circuit, a small part of them are decomposed through subsection linearity while most of them are adopted the form of hieroglyph combination for subsection decomposition fitting analysis. For the following contents, the author will adopt curve layout method to analyze nonlinear resistance element and relation characteristics of voltage and current; to state the characteristics and nature of common electronic elements in our life, and concepts of concave resistance and convex resistance; to analyze the characteristics of nonlinear resistance circuits through electrical circuit analysis method based on the electrical theorem of physics; finally, to analyze referring to actual cases,study the veracity, verify the feasibility and scientificity of the adopted analytical approach, apply image graphics of the resistance circuits in the convenient way to solve complicated design problems among actual electrical problems.

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Halpern, Rob. "Baudelaire's “Dark Zone”: The Poème en Prose As Social Hieroglyph; or The Beginning and the End of Commodity Aesthetics." Modernist Cultures 4, no. 1-2 (May 2009): 1–23. http://dx.doi.org/10.3366/e2041102209000434.

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Lyric poetry collides with the prose of history in Baudelaire's Petits poèmes en prose (1869), one of modernité's inaugural aesthetic projects. While the “prose poem” persists today with its own canons, anthologies, and journals, Baudelaire's poème en prose remains irreducible to the genre it is typically said to have originated. This essay makes a case for the generic singularity of Baudelaire's poème en prose by way of Paul de Man and Theodor Adorno, whose oblique references to Baudelaire's innovation are rich in unexamined implications, implications which illuminate the work of both theorists as much as they help us to understand the stakes of Baudelaire's prosaic experiment. The essay goes on to argue that modern lyric's rarefied aim for an autonomy beyond language's referential function persists critically, albeit paradoxically, in the seeming transparency of the Petits poèmes en prose, where poem and commodity collapse in an internal identification, while maintaining the distinctions of external disparities.

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SCATTERGOOD, JOHN. "Book reviews A History of Writing. From Hieroglyph to Multimedia Edited by Anne-Marie Cristin Paris: Flammarion, 2002 (403 pages)." European Review 11, no. 4 (October 2003): 613–15. http://dx.doi.org/10.1017/s1062798703210516.

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