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Journal articles on the topic 'The history of script'

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Published: 4 June 2021

Last updated: 11 February 2022

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1

Dževerdanovic-Pejović, Milena. "Humour in online comments regarding Montenegro’s accession to NATO." European Journal of Humour Research 6, no. 2 (2018): 81. http://dx.doi.org/10.7592/ejhr2018.6.2.245.dzeverdanovic.

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The empirical analysis in this paper deals with establishing humour examples based on script opposition patterns in online comments regarding Montenegro’s accession to NATO. It is established that the opposing scripts prevailing in the comments on political setting in Montenegro are heavily dependent on Montenegro’s turbulent history and dominant collective scripts such as pride and bravery. As online comments are an emerging genre, a reference to the influence of computer-mediated communication was also made, where pragmatic interpretation called for the help of critical discourse analysis. The results show that the script opposition parameters enable not only linguistic but also pragmatic revelations about Montenegrin people and their chief values or scripts. Script opposition examples within commenters’ standpoints are explained with reference to diachronic level and the modern values in Montenegro.

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2

Katchen, Rosalie. "Hebraica Authority Control at Brandeis." Judaica Librarianship 8, no. 1 (1994): 56–60. http://dx.doi.org/10.14263/2330-2976.1231.

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Brandeis University Libraries has maintained separate authority files for all names written on title pages in Hebraic script-for personal, corporate, place, and conference headings. The files enable the cataloger to search in roman or Hebraic script. This paper reviews the history of the Hebraica authority files, their organization, changes in usage, adaptation to AACR2, and their reactivation when Hebrew script became available on RLIN. Current usage is examined in light of RLIN and the accommodation of nonroman scripts in the USMARC authorities format.

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3

Parmentier, Richard J. "Rongorongo, The Easter Island Script: History, Traditions, Texts.:Rongorongo, The Easter Island Script: History, Traditions, Texts." Journal of Linguistic Anthropology 8, no. 2 (1998): 253–55. http://dx.doi.org/10.1525/jlin.1998.8.2.253.

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4

Ahmad, Abdul Aziz. "MELESTARIKAN BUDAYA TULIS NUSANTARA: Kajian tentang Aksara Lontara." Jurnal Budaya Nusantara 1, no. 2 (2014): 148–53. http://dx.doi.org/10.36456/b.nusantara.vol1.no2.a416.

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The conservation of Indonesian Traditional Script is less seriously done. Therefore it needs to be encouraged especially for the traditional scripts because they are one of the national assets which need to be developed and kept. Lontara, traditional script in Indonesia, is the one which is still exist in use in South Sulawesi, although it is restricted in small areas. The term Lontara means history and science, and the second meaning is something written, or an article. Lontara script is also well known as Bugis Script or Makassar Script, but people prefer saying it as Lontara Script. The effort to introduce the Lontara is done in the following ways firstly by introducing the use and the benefit of the script. People are usually not interested to something because they do not know it. Secondly, it is done by reading and writing. Thirdly is by promoting the people to use it in daily written communication. Fourth is by using it in a publication, or written media, because this script needs to be spread out through a latest modern technology. Fifth is showing the Lontara to the people in a form of Artistic Craft, or paintings. Keywords: script, lontara, traditional, communication, publication.

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5

van Bekkum, Wout Jac. "The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy and Design." Journal of Jewish Studies 49, no. 1 (1998): 135–36. http://dx.doi.org/10.18647/2067/jjs-1998.

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6

Cox, Whitney M. "Scribe and script in the Cālukya West Deccan." Indian Economic & Social History Review 47, no. 1 (2010): 1–28. http://dx.doi.org/10.1177/001946460904700101.

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7

CHOKSI, NISHAANT. "From Language to Script: Graphic practice and the politics of authority in Santali-language print media, eastern India." Modern Asian Studies 51, no. 5 (2017): 1519–60. http://dx.doi.org/10.1017/s0026749x16000470.

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AbstractThis article discusses the way in which assemblages of technologies, political institutions, and practices of exchange have rendered both language and script a site for an ongoing politics of authority among Santals, an Austro-Asiatic speaking Adivasi (Scheduled Tribe) community spread throughout eastern India. It focuses particularly on the production of Santali-language print artefacts, which, like its dominant language counterparts, such as Bengali, has its roots in colonial-era Christian missions. However, unlike dominant languages, Santali-language media has been characterized by the use of multiple graphic registers, including a missionary-derived Roman script, Indic scripts such as Devanagari and Eastern Brahmi, and an independently derived script, Ol-Chiki. The article links the history of Santali print and graphic practice with assertions of autonomy in colonial and early post-colonial India. It then ethnographically documents how graphic practices, in particular the use of multiple scripts, and print technologies mediate a contemporary politics of authority along vectors such as class and generation within communities that speak and read Santali in the eastern state of West Bengal, India.

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8

Healey, J. "The early history of the Syriac script." Journal of Semitic Studies 45, no. 1 (2000): 55–68. http://dx.doi.org/10.1093/jss/45.1.55.

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Häberl, Charles G. "Iranian Scripts for Aramaic Languages: The Origin of the Mandaic Script." Bulletin of the American Schools of Oriental Research 341 (February 2006): 53–62. http://dx.doi.org/10.1086/basor25066933.

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10

Heller, Marvin J. "The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy and Design. Ada Yardeni." Papers of the Bibliographical Society of America 98, no. 2 (2004): 246–48. http://dx.doi.org/10.1086/pbsa.98.2.24295791.

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11

Kahn, Arnold S., Virginia Andreoli Mathie, and Cyndee Torgler. "Rape Scripts and Rape Acknowledgment." Psychology of Women Quarterly 18, no. 1 (1994): 53–66. http://dx.doi.org/10.1111/j.1471-6402.1994.tb00296.x.

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Past research has indicated that nearly half of college-aged women who experience forced, nonconsensual sexual intercourse, do not label their experience as rape. We found evidence that these unacknowledged rape victims possess more violent, stranger rape scripts than do acknowledged rape victims, who are more likely to have an acquaintance rape script. The difference in rape scripts between acknowledged and unacknowledged rape victims was not due to different demographics or actual rape experience. However, unacknowledged victims did have a sexual history which involved less force than did acknowledged victims. Apparently, most unacknowledged victims do not define their rape experience as rape because they have a rape script of a violent, stranger, blitz rape which does not match their experience of being raped in a less forceful manner by someone with whom they were acquainted. The extent to which their less forceful sexual histories is related to their more violent rape scripts remains to be investigated.

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12

de Voogt, Alexander J. "The Meroitic script and the understanding of alpha-syllabic writing." Bulletin of the School of Oriental and African Studies 73, no. 1 (2010): 101–5. http://dx.doi.org/10.1017/s0041977x0999036x.

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AbstractAt the time of its decipherment by Griffith (1911), the Meroitic writing system was considered an alphabet. This alphabet was found to have a rather limited vowel notation. It was not until 1970 that the system was understood to have a more complex vowel notation. This system of vowel notation is comparable to what is found in an alpha-syllabary, a term used to describe the scripts of the Indian sub-continent, such as Brahmi and Devanagari. Since alpha-syllabaries were rare when the Meroitic writing system was in use (c. 200 bce–c. 500 ad), it is tempting to suggest a possible historical connection between the Meroitic kingdom in Sudan and the then existent scripts in India. A systematic analysis, as opposed to a description of alpha-syllabic writing, indicates that the structure of this type of script is less regionally confined. Rather, it places Meroitic writing among scripts that were created in the presence of alphabetic writing both in modern and in ancient times.

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Dumville, David N. "English Square minuscule script: the background and earliest phases." Anglo-Saxon England 16 (December 1987): 147–79. http://dx.doi.org/10.1017/s0263675100003884.

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In the long history of the Insular system of scripts, the tenth century marks for England a decisive stage. Within the narrow confines of that eraq we may observe numerous ecclesiastical developments which bear on the history of book production: attempts at a scriptorial reform; the reception of external stimuli of an artistic and technical nature; the creation of a new ‘Square minuscule’ form of Insular script; the deliberate imitation in England (for the first time since its emergence in northwestern Francia in the later eighth century) of the Caroline minuscule, probably not unconnected with an increasing rate of impartation of foreign book; a monastic revolution within the English church (supported by the monarchy but led by Benedictine ideologues drawing inspiration in large part from continental models of reform) some of whose proponents probably favoured Caroline writing as a matter of principle; a growing tendency on the part of scribes to write different scripts for Latin and the vernacular; a considerable growth in the writing of vernacular manuscripts whose output seems to have increased geometrically during the 175 years from King Alfred's literary and educational reform to the Norman Conquest; and finally the abandonment of the Square minuscule as a vehicle for Latin writing, coincident with its transmutation into another variety of Insular script whose use in the eleventh and twelfth centuries was restricted to English-language matter.

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Kanada, Gary N., and Steven Roger Fischer. "Rongorongo: The Easter Island Script; History, Traditions, Texts." Oceanic Linguistics 39, no. 1 (2000): 199. http://dx.doi.org/10.2307/3623223.

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15

Mair, Victor H. "Language And Script; Biology, Archaeology, And (Pre)History." International Review of Chinese Linguistics 1:1, no. 1 (1996): 31–41. http://dx.doi.org/10.1075/ircl.1.1.07mai.

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16

Bhoi, Panchanan. "Examining the Usage of Stylus or Lekhan̄ı in a Historical Space: Evidence of Its Finds from the Literary and Archaeological Sources of India." Indian Historical Review 48, no. 1 (2021): 147–61. http://dx.doi.org/10.1177/03769836211009725.

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The study analyses the findings of writing instrument and its nomenclature through literary and archaeological sources. Certainly, writing instruments and materials were linked to the appearance of letters and scripts, but we should remind ourselves that the Harappan people did have their own script and left their inscriptions, which we have yet to decipher. Even prior to the Harappan civilisation we have innumerable findings, like graffiti or decorative designs on potsherds, symbols, incised potteries, multi-grooved designs on pots, stamped decorations, pictographs or art and paintings on various materials. If we consider these to be the primal form of a script or primordial form of writing, then definitely these exhibit some kind of communication. And there must have existed some kind of instrument used for the purpose of marking or incising on various materials, which were later on instrumental in the evolution of a script or writing system. This tool or device or instrument could be made of stone, bone, ivory, horn, copper or iron. Again various archaeological terms have been used for these instruments though no one is certain about the nomenclature of these instruments. Whatever the epithets or name tags used for the instruments, there is a certain kind of correlation between the findings of these tools from the various excavation sites, as evident from the many excavation reports referred to. Although these tools were used for various purposes in diverse ways, still it is not adequate reason to exclude them from the discussion of the writing instrument.

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Lentacker, Antoine. "Powers of the Script." Representations 148, no. 1 (2019): 57–85. http://dx.doi.org/10.1525/rep.2019.148.1.57.

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For all their concern with the nature of medical authority, historians of medicine have paid remarkably little attention to the history of the medical script, the main medium in and through which the doctor’s authority is enacted. This essay analyzes the medical prescription as an instance of a written performative. While focusing on the changing uses of one particular documentary genre in turn-of-the-twentieth-century France, it seeks to outline a broader theory of graphic performativity, or of the conditions under which the symbolic power of the oral performance is transferred and transformed as it is transcribed on paper.

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18

Karataeva, S. "The Yenisei Script as a Historical Source in the Study of the Kyrgyz Language." Bulletin of Science and Practice 7, no. 4 (2021): 458–64. http://dx.doi.org/10.33619/2414-2948/65/55.

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The purpose of this article can be described as a scientific review of the Yenisei script as a source in the study of the history of the Kyrgyz language. The Yenisei (Kyrgyz) script provided an opportunity to preserve and pass on to posterity reliable facts about significant milestones in the history of the Kyrgyz and Kyrgyz statehood. The high level of farming and the state structure of the Kyrgyz people fully corresponded to their written culture. The Yenisei script can be recognized as an indicator of the high culture of the Yenisei Kyrgyz. Undoubtedly, the Yenisei script played a huge role in the study of not only the history of the Kyrgyz people, but also in the study of the formation of their language.

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Xu, Duoduo. "From Daba Script to Dongba Script: A Diachronic Exploration of the History of Moso Pictographic Writings." Libellarium: journal for the research of writing, books, and cultural heritage institutions 1, no. 10 (2017): 51. http://dx.doi.org/10.15291/libellarium.v1i1.246.

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20

Tuchscherer, Konrad, and P. E. H. Hair†. "Cherokee and West Africa: Examining the Origins of the Vai Script." History in Africa 29 (2002): 427–86. http://dx.doi.org/10.2307/3172173.

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A cornerstone of the Western intellectual heritage is the fervent belief in the power of the written word to transform man and society. In this tradition, the existence of writing serves as a hallmark for civilization and a marker to separate history from prehistory. While a great deal of scholarly work has dispelled many myths about literacy, thus bridging “the great divide” between the written and the oral, our intellectual and emotional attachment to writing persists. This appears to be especially the case in reference to the origins of writing systems, many of the latter being claimed and reputed to have been “independently invented.” For those peoples most involved historically in such developments, the invention and use of original scripts are points of pride, and hence claims for the “authenticity” of the scripts, that is, for their invention and coming into use having been an entirely indigenous undertaking, are passionately guarded.Historians of writing, however, are cautious of claims for independent invention. From ancient to modern times, the history of the development of writing has been characterized by a balance between “independent invention” and “stimulus diffusion.” While epigraphers and paleographers attempt to unravel the inevitably obscure origins of certain ancient scripts possibly devised in environments free from external influence, no script devised in the last two thousand years is likely to have emerged totally independent of the stimulus of some diffused knowledge of the previous history of scripts—at the very least, the mere idea of writing. Nonetheless, for many modern observers, any suggestion of an outside stimulus on the development of such scripts is considered virtual heresy, tantamount to an attack on the intellectual ability of the peoples who claim to have single-handedly devised the scripts.

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Kanada, Gary N. "Rongorongo: The Easter Island Script: History, Traditions, Texts (review)." Oceanic Linguistics 39, no. 1 (2000): 199–203. http://dx.doi.org/10.1353/ol.2000.0005.

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22

HEALEY, J. F. "THE EARLY HISTORY OF THE SYRIAC SCRIPT A REASSESSMENT." Journal of Semitic Studies XLV, no. 1 (2000): 55–67. http://dx.doi.org/10.1093/jss/xlv.1.55.

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23

Fallan, Kjetil. "De-scribing Design: Appropriating Script Analysis to Design History." Design Issues 24, no. 4 (2008): 61–75. http://dx.doi.org/10.1162/desi.2008.24.4.61.

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Johnson, J. Cale. ":The First Writing: Script Invention as History and Process." Journal of Linguistic Anthropology 17, no. 2 (2007): 298–300. http://dx.doi.org/10.1525/jlin.2007.17.2.298.

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Munawarah, Sri. "POLA SINTAKTIS LAKON JAKA SUKARA." Paradigma, Jurnal Kajian Budaya 4, no. 1 (2017): 15. http://dx.doi.org/10.17510/paradigma.v4i1.156.

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The history of Malay language has been going through a long way. Kridalaksana (1991:5) divided the development period of Malay language into four: the Melayu Kuna era (the 7th-14th century CE), the Melayu Klasik/Tengahan era (the 14th-18th), the Melayu Peralihan era (the 19th), and the Melayu Baru era (the 20th century). The Betawi language is the only Malay language that existed in Java Island. Dullaurier, as quoted by Hollander (1983;1984), said that the Malay language is divided into two groups: Malay language Malaka accent and Betawi accent (Muhadjir, 1999:21). In this research, the script of Lakon Jaka Sukara became the data source to find the characteristic features of Malay Betawi language syntax that is written in the script. Lakon Jaka Sukara is one of the scripts assumed to have been written by the Betawi people. In this case, the script of Lakon Jaka Sukara will be analyzed in its syntactic pattern. The research of the Betawi language writing variety, especially the ancient script has rarely been done. That case became important for this research to be conducted. After seeing the whole script, there is syntactic patterns that became the characteristic features of the writing variety of the Betawi language. That syntactic pattern is that there is construction property or possessive phrase, collocation [kasi], [beri], or [kerja] that is followed by verbs, construction [apa] that is followed by nouns, construction [barang] that is followed by [di mana], construction [pun] that is in front of male pronouns, and construction [pun] that is on the back of female pronouns.

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Leiting, Kari A., and Elizabeth A. Yeater. "A Qualitative Analysis of the Effects of Victimization History and Sexual Attitudes on Women’s Hypothetical Sexual Assault Scripts." Violence Against Women 23, no. 1 (2016): 46–66. http://dx.doi.org/10.1177/1077801216637472.

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This study examined qualitatively the effects of a sexual victimization history and sexual attitudes on 247 undergraduate women’s written accounts of a hypothetical sexual assault. More severe victimization history was associated with script characteristics of greater alcohol use, knowing the man longer, and the context of a party. Greater endorsement of positive attitudes toward casual sex was related to script characteristics of greater alcohol use, acquiescing to the man, and not knowing the man as long. Finally, a more recent sexual assault was associated with script characteristics of having just met the man, the context of a party or date, and acquiescing to the man.

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Lonngren, T. P. "‘...Insured against the tyranny of time’.Knut Hamsun’s last play and an unknown Russian film script." Voprosy literatury, no. 5 (December 19, 2018): 76–102. http://dx.doi.org/10.31425/0042-8795-2018-5-76-102.

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After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the history of filmmaking and relevant filmography, Khokhlov’s film script is not just the only attempt at film adaptation of a Hamsun play, but the first ever project based on a theatrical play in Russian cinematic history. Written almost 100 years ago, the script is far from perfect in the modern understanding of filmmaking; nonetheless, it has certain merits in the eyes of contemporaries. The very attempt to interpret the play by means of a nascent artistic genre may be considered a proof of its relevance to Russian audiences at the time.

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Theis, Christoffer. "From Wng to Καιέχως – a Possible Explanation for the Cartouche Name KꜢ-kꜢ.w?" Journal of Egyptian History 14, № 1 (2021): 49–57. http://dx.doi.org/10.1163/18741665-12340072.

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Abstract So far, it has not been possible to equate the name KꜢ-kꜢ.w of the second king Horus Rꜥ-nb(=i) of the Second Dynasty, written in a cartouche during the Ramesside Period, with a name attested at the time of this dynasty. Taking into account the theory advanced by Jochem Kahl that Horus Rꜥ-nb(=i) is the same ruler as Wng, it is possible to develop a sequence in Hieratic script which leads from Wng to KꜢ-kꜢ.w and is based on a misreading of an Egyptian scribe.

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Dumville, David N. "English Square minuscule script: the mid-century phases." Anglo-Saxon England 23 (December 1994): 133–64. http://dx.doi.org/10.1017/s0263675100004518.

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I propose here to continue my exploration and survey of the history of that quintessentially tenth-century script form, English Square minuscule. Since 1987, when my account of the background and earliest phases of the script was published in this journal, new material and new thinking have encouraged continued investigations into Anglo-Saxon script of the 930s and the use of Square minuscule at Canterbury in particular. These factors must serve as a justification for taking a further look at Phase II before proceeding to a preliminary and provisional account of the styles of the 940s, 950s and early 960s. This is a self-contained era which concludes with the origination and propagation of Anglo-Caroline script. The closing phases of Square minuscule will have to await treatment in a third instalment of this essay, as will consideration of some of the larger issues advertised in 1987. However, since it is critically intertwined with the mid-century phases of script history, I shall discuss here (as promised at the outset) the role of the royal chancery in calligraphic developments.

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Indrayati, Refita Ika, and Namuri Migotuwio. "Identifikasi Anatomi Aksara Lampung." AKSA: Jurnal Desain Komunikasi Visual 4, no. 1 (2020): 541–51. http://dx.doi.org/10.37505/aksa.v4i1.43.

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Writing system in a form of script is an integral part ofcommunication. Its existence enabling history, idea and knowledgeto spread beyond one’s land and passed from one generation to theother. As a part of Indonesian culture, Lampung script of HadLampung must be preserved. But in reality, the usage of this script isfading from society. The difficult writing system and wide-spreadusage of Latin alphabet as standard in Indonesian language aresome of the factors why Lampung script is not a popular writingsystem in Lampung. This research is trying to fill the gap betweenthe effort of conservation and the lack of documentation about localscript. This study uses Type Design Parameter by Mohanty toidentify and categorize Lampung script anatomy. This identificationcan be guideline recommendation for Lampung script basedtypography design and other purposes.

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Ningsih, Afriza, and Kotrini Kotrini. "The History Behind Badano Grand Mosque." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 6, no. 2 (2018): 9–14. http://dx.doi.org/10.30630/polingua.v6i2.60.

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The History behind Badano Grand Mosque” is the history of an old mosque in Pariaman-West Sumatera. It is one of important information that needs to be shared to listeners as source of sharing information. There are a lot of old mosques still exist nowadays in West Sumatera but Badano Grand Mosque still has some interesting and uniques stories that make people in Pariaman are very proud of it. The radio feature of History behind Badano Grand Mosque will be able to attract a lot of tourists to visit this place. There are three procedures in making this project are conducted: Pre-production, Production, and Post-production. The main point of this project is production process. In production stage, there are some steps that were done such as doing interview with informants, choosing the insert, writing the script and recording the voice. The result of this project is an English script with 750 words.

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Cushman, E. "The Cherokee Syllabary from Script to Print." Ethnohistory 57, no. 4 (2010): 625–49. http://dx.doi.org/10.1215/00141801-2010-039.

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Espedal, Gry. "“It is those people”: Religious Scripts and Organizing Compassion." Journal of Management, Spirituality & Religion 18, no. 4 (2021): 293–311. http://dx.doi.org/10.51327/pbhc7916.

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The literature describes religious behavior as triggered by cognitive schemata, but we know little of how emotions and values influence organizational religious scripts. Drawing from an ethnographic and longitudinal qualitative case study in a faith-based institution, this paper analyzes how organizational religious scripts encode and enact compassionate activities. In this article, a process of acknowledging religious history, noticing pain, and living ethical spirituality is identified as forming compassionate behavior that enhances the script. The institutional context as well as the emotional experience of pain, suffering, and inequality can be a pervasive aspect of organizational spiritual life and frame organizational activities to reproduce and replicate organizational religious scripts and the moral engagement of reaching out to the sick and marginalized.

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During Caspers, Elisabeth C. L. "The MBAC and the Harappan Script." Ancient Civilizations from Scythia to Siberia 5, no. 1 (1999): 40–58. http://dx.doi.org/10.1163/157005799x00052.

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AbstractThe article deals with interpretation of inscriptions consisting of Indus characters recovered outside the boundaries of the Indus Valley, primarily in Arabian Gulf regions and in Southern Mesopotamia. The author makes a supposition that inscriptions on foreign (non-Harappan) seals and objects with non-Harappan sign sequences and/or inclusion of non-Harappan signs could belong not to the so-called "new Sumerians," acculturated and integrated Meluhhans who lived in the Gulf region, but to the Murghabo-Bactrians who had come to the Arabian Gulf and Southern Mesopotamia. The latter could have acquired some knowledge of the Harappan script and language at their home in Central Asia.

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During Caspers, Elisabeth C. L. "The Mbac and the Harappan Script." Ancient Civilizations from Scythia to Siberia 5, no. 3 (1999): 40–58. http://dx.doi.org/10.1163/157005799x00115.

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AbstractThe article deals with interpretation of inscriptions consisting of Indus characters recovered outside the boundaries of the Indus Valley, primarily in Arabian Gulf regions and in Southern Mesopotamia. The author makes a supposition that inscriptions on foreign (non-Harappan) seals and objects with non-Harappan sign sequences and/or inclusion of non-Harappan signs could belong not to the so-called "new Sumerians," acculturated and integrated Meluhhans who lived in the Gulf region, but to the Murghabo-Bactrians who had come to the Arabian Gulf and Southern Mesopotamia. The latter could have acquired some knowledge of the Harappan script and language at their home in Central Asia.

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Lim, HyungTaek. "From the Universal to the National." Journal of World Literature 1, no. 2 (2016): 245–58. http://dx.doi.org/10.1163/24056480-00102008.

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With the advent of western modernity towards the end of the nineteenth century, the Chinese scriptworld deconstructed. This was the greatest transformation to take place in this region in all of its recorded history, for that history began in Chinese script. China, Japan, Vietnam, and Korea all used the Chinese script but used it in different ways. The universal system was developed uniquely in each case in interaction with the vernacular. This paper will examine the ways in which Korea adopted and negotiated with the Universal script and how Chinese writing developed with respect to Korean speech. It will conclude with some observations on the tensions brought to bear on the Chinese scriptworld by nationalization and westernization.

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Vijay, Vijay, M. U Kharat, and S. V Gumaste. "Study of Different Features and Classification Techniques for Recognition of Handwritten Devanagari Text." International Journal of Engineering & Technology 7, no. 4.19 (2018): 1055. http://dx.doi.org/10.14419/ijet.v7i4.19.28285.

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Devanagari script is most popular and an older script in India. Millions of people all over the globe are using Devanagri script for various purposes such as communication, understanding the history, record keeping, research, etc. Recognition of handwritten Devanagari word is one of the popular area of research from decades because of its wide scope of applications. Different features and techniques of classification are the most important steps in the process of recognizing Devanagari handwritten word, are described in this paper.

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Yuliantri, Rhoma Dwi Aria. "History Flash: Sejarah “Satu Menit”." SASDAYA: Gadjah Mada Journal of Humanities 2, no. 2 (2018): 415. http://dx.doi.org/10.22146/sasdayajournal.36453.

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This paper elaborates thoughts regarding the use of digital communication technology in the innovation of historical explanation. So far, the explanation of history in the mainstream has set the written explanation (script) as a product of study and thought on historical reconstruction. The script is for sure an important form that has been widely accepted as an output of the past reconstruction. However, technological developments, especially in the field of digital communications, provide historians with new challenges regarding alternative forms of historical representation which confronts the existed conventional models. This paper offers thoughts about the method of historical reconstruction through flash history in the form of short filmmaking, which has the duration in minutes. The objective is to socialize history and bring closer the process of historical reconstruction to the daily life of the community, which currently engages with digital communication technology. The method applied in this study is a historical method. But, the stages and the outputs of this historical method is not a written narrative, but an audio-visual product that can be quickly shared as a learning medium and can be directly addressed by the community. The paper also reviews the limitations of digital technology as media and product in the process of historical reconstruction.

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Sugianela, Yuna, and Nanik Suciati. "Javanese Document Image Recognition Using Multiclass Support Vector Machine." CommIT (Communication and Information Technology) Journal 13, no. 1 (2019): 25. http://dx.doi.org/10.21512/commit.v13i1.5330.

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Some ancient documents in Indonesia are written in the Javanese script. Those documents contain the knowledge of history and culture of Indonesia, especially about Java. However, only a few people understand the Javanese script. Thus, the automation system is needed to translate the document written in the Javanese script. In this study, the researchers use the classification method to recognize the Javanese script written in the document. The method used is the Multiclass Support Vector Machine (SVM) using One Against One (OAO) strategy. The researchers use seven variations of Javanese script from the different document for this study. There are 31 classes and 182 data for training and testing data. The result shows good performance in the evaluation. The recognition system successfully resolves the problem of color variation from the dataset. The accuracy of the study is 81.3%.

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Pettegree, A. "Review: The Uses of Script and Print, 1300-1700." English Historical Review 119, no. 484 (2004): 1401–2. http://dx.doi.org/10.1093/ehr/119.484.1401.

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Mathias, Gerald B., and Nanette Gottlieb. "Kanji Politics: Language Policy and Japanese Script." Monumenta Nipponica 51, no. 4 (1996): 503. http://dx.doi.org/10.2307/2385437.

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Hayworth, Zachary. "Moses Mendelssohn's Living Script: Philosophy, Practice, History, Judaism by Elias Sacks." Toronto Journal of Theology 33, no. 2 (2018): 308–9. http://dx.doi.org/10.3138/tjt.33.2.308.

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Hanna, Pat, and Richard Fotheringham. "Script of Louis XI – ADDENDUM." Queensland Review 27, no. 1 (2019): 116. http://dx.doi.org/10.1017/qre.2019.24.

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Raw, Laurence. "Script Culture and the American Screenplay." Historical Journal of Film, Radio and Television 30, no. 4 (2010): 570–72. http://dx.doi.org/10.1080/01439685.2010.529276.

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Zang, Kehe. "Writing media, script styles and literary forms: Reasons behind the development of the writing system during the Wei, Jin and Southern and Northern dynasties and its significance." Journal of Chinese Writing Systems 5, no. 2 (2021): 87–97. http://dx.doi.org/10.1177/25138502211018789.

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The graph zhi 纸 in the Wei, Jin and Southern and Northern dynasties is of great significance and profound influence. The writing system during this period experienced a rapid development, leading to various script styles that met the demand of all kinds of literary forms and occasions. The development of script style is more directly related to the development of literary forms, especially written literature. Besides the development in the regularization of the writing system, the full preparation of script styles results mainly from material and social factors. Material factors refer to the change of writing media, namely the fact that paper became daily writing material during the Wei, Jin and Southern and Northern dynasties, and social factors are the accumulation of family education and the social atmosphere of advocating calligraphy. The literature of the Wei, Jin and Southern and Northern dynasties has its own track of development and its particular literary forms and genres. The consideration of the development of script style and the transformation of writing media during this period will help us discover some internal connection.

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Allon, Niv. "Seth is Baal - Evidence from the Egyptian script." Ägypten und Levante 17 (2008): 15–22. http://dx.doi.org/10.1553/aeundl17s15.

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Matthews, Julia, Peter Holland, and Stephen Orgel. "From Script to Stage in Early Modern England." Sixteenth Century Journal 37, no. 3 (2006): 880. http://dx.doi.org/10.2307/20478069.

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Rojas, C. "JING TSU. Sound and Script in Chinese Diaspora." American Historical Review 118, no. 3 (2013): 831–32. http://dx.doi.org/10.1093/ahr/118.3.831.

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Abad-Zapatero, Celerino, Jill Campbell, and Gregory Gerhardt. "Crystallography on Stage: Presenting the Concepts and History Dramatically." Acta Crystallographica Section A Foundations and Advances 70, a1 (2014): C1036. http://dx.doi.org/10.1107/s2053273314089633.

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From Christopher Marlowe's Doctor Faust (1604) to Oxygen (2000) by Carl Djerassi and Roald Hoffmann, there is a long tradition of dramatic work related to science and scientist. More recently, the enormously successful Copenhagen (1998) by Michael Frayn's and a wave of new plays about scientific themes such as Arcadia, Wit, After Darwin and others have created new dramatic phenomenon. These works are not the conventional documentary-dramas about scientific discovery but engaging plays. A recent book entitled Science on Stage (1) reviews more than a hundred plays presenting scientific themes on stage. Beginning in 2005, a play was developed with the objective of conveying the concepts and history of crystallography to large audiences in a dramatic setting. The script centers on the mural drawn by Picasso in 1950 at the flat of the iconic crystallographer J.D. Bernal, during his historical meeting with the world-famous artist. The main characters discuss the concepts of crystallography and explore the interconnections between Science and Art. The script has had several readings in academic settings (University of Illinois at Chicago, 2007; Barcelona, Zaragoza, Spain, 2008). The première staged reading of the play was produced at Argonne National Laboratory on May 4th2008. Details can be found at http://www.aps.anl.gov/Users/Meeting/2008/Picasso/index.php. The project has developed from an initial script entitled `Picasso Meets Crystallography' emphasizing the concepts and history of crystallography to the more dramatically-rich version entitled `Bernal's Picasso', which explores the relationships between Science and Art and is intended for wider theater audiences. The presentation will discus the history of the project with vignettes of previous performances, its multiple facets and its future development as a novel way to convey crystallography to wider audiences, and to explore in a dramatic context the role of crystallography in today's society

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Badmaeva, L. B. "The Narrative about the History of the Shenekhen Buryats." International Linguistics Research 3, no. 2 (2020): p1. http://dx.doi.org/10.30560/ilr.v3n2p1.

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The article is devoted to the narrative written by Bodongut Abida about the history of the emigration of the Aga Buryats to China at the beginning of the XX century, which was of an economic and ethno-protective nature. The aim of this research is to introduce into scientific circulation a new document on the history of Buryat emigration. In the Soviet historiography until now days, it was customary to keep silent about the emigration of the Buryats to China. The main attention is focused on the content of the written monument in the Old Mongolian script. The structure of the work is considered. For the first time is given the biographical information about Bodongut Abida. The data used for this research were taken from this document and the Buryat chronicles written in Old Mongolian script in XIX century. Based on the results of the analysis, it was found that the process of loss of the native language and the ethnic identity among the Buryats of China received significantly less development than the Buryat ethnos in Russia. The empirical material shows that the one of the most important factors in the consolidation of the ethnic group and the ethnic identity of the Shenekhen Buryats is the language, the possession of the Mongolian script, which is the traditional letter of the Mongolian peoples. Besides the sense of national pride and national self-awareness, as well as the factor of the compact settlement of the ethnos in the dominant Mongolian-speaking environment are the factors of their consolidation. In addition, the present state of the language and culture of the Shenekhen Buryats is presented, based on the expedition materials of the author of this paper.

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