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Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In his On the Art of Building, Renaissance humanist Leon Battista Alberti wrote that the ancient Egyptians believed that alphabetical languages would one day all be lost, but the pictorial method of writing they used could be understood easily by intellectuals everywhere and far into the future. Amidst a renewed appreciation of ancient Egyptian hieroglyphics found on obelisks in Italy and the discovery of Horapollo's Hieroglyphica, which purported to translate the language, Renaissance humanists like Alberti developed an obsession with this ancient form of non-alphabetical writing. Additionally, a growing awareness of the lost language of their Etruscan ancestors further ignited an anxiety among Italian humanists that their own ideas might one day become unintelligible. As Egyptomania spread through the Italian peninsula, some saw an answer to their fears in the pictorial hieroglyphics of the ancient Egyptians, for they perceived, in Egyptian writing, the potential for a universal language. Thus, many created Renaissance hieroglyphs based on those of the Egyptians. This essay examines the successes and failures of these neo-hieroglyphs, which early modern humanists and artists created hoping that a language divorced from alphabetical text might better convey the memory of their names and contributions to posterity. [ABSTRACT FROM AUTHOR]

This paper strives to pursue two goals at the same time: – how can one get to know in depth the intellectual life of the Soviet Union in the 1930s–50s? – what can the virulent anti-Saussurean criticism in Russia at that time tell us about the specificity of the Marxist-Leninist theory of sign? We will propose here an apparently narrow angle of attack: the recurring theme of this criticism, namely that Saussure’s Cours presents a ”theory of hieroglyphics” (or symbols), therefore a type of bourgeois idealist theory that Lenin assailed in his 1909 book Materialism and Empiriocriticism about E. Mach, and which was upheld for a time by Plekhanov. But thinking about hieroglyphics is based on much older controversies, dating back to the 17th century about the deciphering of Egyptian writing. The issue which arises here is semiotic in nature: it is the scalar opposition between transparency and opacity of the sign that is at stake. Does the sign hide or reveal? The Soviet discourse on language and signs in the 1930s–50s seems entirely to be based on an interrogation of the sign/referent, language/thought, form/content relationship. A part of the history of semiotics can thus be discovered from the critique of the “hieroglyphic theory”, a little-known episode in a debate on the interpretation of Saussurism.

In his On the Art of Building, Renaissance humanist Leon Battista Alberti wrote that the ancient Egyptians believed that alphabetical languages would one day all be lost, but the pictorial method of writing they used could be understood easily by intellectuals everywhere and far into the future. Amidst a renewed appreciation of ancient Egyptian hieroglyphics found on obelisks in Italy and the discovery of Horapollo’s Hieroglyphica, which purported to translate the language, Renaissance humanists like Alberti developed an obsession with this ancient form of non-alphabetical writing. Additionally, a growing awareness of the lost language of their Etruscan ancestors further ignited an anxiety among Italian humanists that their own ideas might one day become unintelligible. As Egyptomania spread through the Italian peninsula, some saw an answer to their fears in the pictorial hieroglyphics of the ancient Egyptians, for they perceived, in Egyptian writing, the potential for a universal language. Thus, many created Renaissance hieroglyphs based on those of the Egyptians. This essay examines the successes and failures of these neo-hieroglyphs, which early modern humanists and artists created hoping that a language divorced from alphabetical text might better convey the memory of their names and contributions to posterity.

The article offers information on the orthopedic practices of ancient Egypt, documenting their early advancements in medical care, including bone setting and surgery. Topics include evidence of ancient orthopedic practices found in mummies and hieroglyphics; detailed records from medical papyri; and the treatment of fractures, congenital deformities and skeletal dysplasia.

While Egyptology, as an academic field, is celebrating its bi-centenary together with that of the deciphering of hieroglyphs by Jean-François Champollion, it may be useful (although several syntheses already exist on parts of this subject) to propose a large panorama of how images produced by the pharaonic society have been studied by researchers for the past two centuries, and the different historiographic trends the field has seen. The relations between texts and images do, of course, make up a large part of this synthetic article, but it is also our wish to allude to more recent and less well-known avenues, especially that of the ontology of images (which has the potential to renew considerably the debate about whether or not Egyptian art is “realistic”) and that ofhe rediscovered importance of materiality in our understanding of the graphic productions of Dynastic Egypt.

The metropolis, modernity, and the capitalist economy are inseparable, and it is not possible to investigate each one in isolation. Dominated by of modernity, power and hegemony of capitalism, the metropolis has turned into an encoded space of content and meaning, with its own mysterious language, continuous influences the residents’ self-awareness. It produces a metropolitan typology in accordance with the existing urgency and complexity, and generated increasingly alienated people. It has caused a discontinuous and disintegrated experience of time and space that disrupts processes of forming image and memory of the city. From the left’s point of view, knowing the reality of cities depends on deciphering these meaningful images that require cognitive methods beyond positivist methods. To understand the metropolis is – to some extent – to understand our present age. Wherever the hieroglyphics of any spatial image are deciphered, there the basis of social reality presents itself. What we see on the surface, so any Marxist-inspired cultural theorist would argue, is the product of deeper underlying forces, and in order to understand these forces we need to interpret the surface level. From this point of view, reading what has never been written by re-reading the experience and understanding the image of the city can be useful in showing the neglected realities caused by the metropolis, modernity and capitalist economy. Assuming the city as a text for explaining the hieroglyphs of the modern metropolis of Tehran in representing the mysterious language of the city, quantitative and qualitative content analysis method was used in this research. For a concrete study of informal story and understanding the received messages through taxi drivers’ mindscape, and image readout was carried out. Analysing the informal stories shows that there is not any integrated policy for a purposeful representation of Tehran or there is no right tool for this purpose. According to the findings, we can claim that the language of the modern Tehran metropolis under the effect of Modernity paradigm and Capitalism is so discontinuous and disintegrated that it deteriorates any formation of memory.

This paper argues that the unusual determinative MANUS+MANUS of the goddess Pahalati in Hama that resisted explanation until now can be understood due to its new attestation in the logographic spelling of a Cilician toponym. It will be shown that an earlier attempt that identified MANUS+MANUS as a variant of MAGNUS, the city as Urušša, and the name of the goddess as a Phoenician-Luwian mixed phrase meaning 'Great Lady', is palaeographically, linguistically, and geographically impossible. A clue to the decipherment of MANUS+MANUS is provided by the homo(io)phonous settlement in Cilicia, Pahra-, which explains how the same sign could have been used both as a determinative and as a logogram in accordance with the regular rules of the usage of the determinatives. [ABSTRACT FROM AUTHOR]

Copyright of Potestas: Estudios del Mundo Clásico e Historia del Arte is the property of Potestas Estudios del Mundo Clasico e Historia del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper strives to pursue two goals at the same time: how can one get to know in depth the intellectual life of the USSR in the 1930s–1950s; and, what can the virulent anti-Saussurean criticism in Russia at that time tell us about the specificity of the Marxist-Leninist theory of signs? We propose the following angle of attack: the recurring theme of this criticism, namely that Saussure’s Cours presents a “theory of hieroglyphics”, therefore a type of “bourgeois idealist” theory that Lenin assailed in his 1909 book Materialism and Empiriocriticism about Ernst Mach. Yet thinking about hieroglyphics is based on much older controversies, dating back to the 17th century and concerning the deciphering of Egyptian writing. The issue which arises here is semiotic in nature: it is the scalar opposition between transparency and opacity of the sign that is at stake. Does the sign hide or reveal? The Soviet discourse on language and signs in the 1930s–1950s seems to be based on an interrogation of the sign/referent, language/ thought, form/content relationship. A part of the history of semiotics can thus be discovered from the critique of the “hieroglyphic theory”, a little-known episode in a debate on the interpretation of Saussurism.

Satire is meant to problematise the way we see things. If it doesn't, it risks re-enforcing what it set out to critique. In 2019, Athi Mongezeleli Joja raised this concern, arguing that despite Vusi Beauchamp's desire to 'take away the power' that racial stereotypes have 'over black Africans,' his use of such iconography ultimately 'ends up misnaming, if not underestimating the power of the thing he thinks he's undermining.' While doubtful that Beauchamp underestimates the power of such tropes, I want to foreground the possibility that he is not being heard in the way he wants to be, drawing on the understanding that his art came about as 'sort of regurgitating something that [he] always knew but never had words for.' It is within this corporeal vein--this space of no words--that I'd like to discuss Beauchamp's work, for while much attention has been paid to his iconography, it is the specificity of his experience and his treatment thereof that is often overlooked, if only by virtue of the sheer toxicity of his subject matter. Here Elizabeth Alexander's paper "Can you be BLACK and look at this?" is particularly instructive, suggesting that experience 'can be taken into the body via witnessing and recorded in muscle memory as knowledge,' or what Hortense Spillers calls 'a kind of hieroglyphics of the flesh.' [ABSTRACT FROM AUTHOR]

The metropolis is more than a collection of transport networks, buildings, parks, rivers and so on. It is an amalgam of cultural products imbued with content and implications, which is well beyond recognition by strictly positivistic views. A deep understanding of the modern metropolis and the roots of its social realities would require deciphering its hieroglyphics. What we see on the surface is the product of deeper underlying forces, and in order to understand these forces we need to explore these deeper levels. The task of any theorist intent on analysing the metropolis is to act like a detective, interrogating these traces and diving into their secrets. Beyond the positivistic methods, there are two alternative models of knowing the metropolis: reading and experiencing. This involves semiological and phenomenological methods. The metropolis as text can be read, meaning of its forms deciphered and its meaning understood: a problematic reading self-confessing of its multiple meanings. The city should be perceived by ontological potentials of human experience. Any city should always remain recipient of various interpretations of it, with meanings remaining multiple and contentious. In order to better understand the city one should not only keep the multiplicity of the ways in which we read the metropolis, but so too the ways in which any social class experience it. We should be aware of the impossibility of an all-encompassing picture of the reality of urban life, because the city fundamentally lacks such representation capacity.

At the end of the decade of the 90's of the 20th century, the Calakmul Archaeological Project reported an unfinished monument, listed by Martin as Stela 117, which was found in Structure IV. On the front, the hieroglyphics were uncarved, but still show a figure carrying warrior attributes sitting on a throne located on the top of a witz basement with a toponymic name. In the monument's informative card at the Museo de la Arquitectura Maya of the Baluarte de la Soledad (in Campeche, México) where it is exhibited, mentions that it's an "Early Classic lintel in which it's represented K'altun Hix" who was one of the early ajawtaak of the Kaan dynasty. However, formally the monument does not seems like a lintel, stylistically it does not coincide with the proposed chronology and, also, the Kaan dynasty was not installed in Calakmul yet during the Early Classic. Therefore, through the iconographic analysis of the monument, with and emphasis on the symbolic elements that are still preserved and taking into account the historical and archaeological context of the Structure IV, we will discuss the possible temporality, the type of monument and who the character represented could be. [ABSTRACT FROM AUTHOR]

The study of American nationalism is a tricky adventure, first because of its deepseated inconsistency as a self-reliant ideology, and second, because of dispersed and random absorptions of its designations by various and often competing factions and policies. In the first case, it has been said that nationalism could stand as a clarifying description of other self-contained ideologies (e.g., national liberalism); on the other hand, due to its pervasively undetermined ideological contours, any investigation of nationalism results in irresolute paradoxes and baffling contradictions. Still, despite such hindrance, the ideological framing of nationalism might be achieved considering certain valuable traits which hint at its commonsensical profile. In keeping with historical, political and cultural development of nationalism in the United States, one could grasp its certain specific marks as an ideology in the concepts of identity and character, American Creed, Manifest Destiny, assimilationism, American System, messianism. The present study modestly attempts to cope with all the aforementioned traits of American nationalism in order to configure its plausible ideography. [ABSTRACT FROM AUTHOR]

Emblems were commonplace in the 16th and 17th centuries. They comprise allegorical engravings and poetic comments, and signify through the particular interaction of both. Widely different types, modes of composition, and aims coexisted however, and the genre therefore still resists systematisation. Even so, George Wither’s emblem book is a unique experiment in emblematic discourse, as the author testifies to its rapidly changing epistemological foundation and makes it subservient to a multi-layered rhetorical purpose by appending to his emblems a remarkable and almost unique feature: a lottery game. By examining these elements, we shall seek to demonstrate that Wither’s work epitomises the state of the emblem in the early seventeenth century, but also transcends and reimagines the genre as a new, interactive, and playful reading experience.

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The ancient catacombs of Egypt harbor millions of well-preserved mummified Sacred Ibis (Threskiornis aethiopicus) dating from ~600BC. Although it is known that a very large number of these 'votive' mummies were sacrificed to the Egyptian God Thoth, how the ancient Egyptians obtained millions of these birds for mummification remains unresolved. Ancient Egyptian textual evidences suggest they may have been raised in dedicated large-scale farms. To investigate the most likely method used by the priests to secure birds for mummification, we report the first study of complete mitochondrial genomes of 14 Sacred Ibis mummies interred ~2500 years ago. We analysed and compared the mitogenomic diversity among Sacred Ibis mummies to that found in modern Sacred Ibis populations from throughout Africa. The ancient birds show a high level of genetic variation comparable to that identified in modern African populations, contrary to the suggestion in ancient hieroglyphics (or ancient writings) of centralized industrial scale farming of sacrificial birds. This suggests a sustained short-term taming of the wild migratory Sacred Ibis for the ritual yearly demand. [ABSTRACT FROM AUTHOR]

For human beings, expressions are inevitable; no expression is yet another expression. For millennia, we have been in constant endeavor to explore and find better ways to better our expressions. When we speak, we continually use paralinguistic features of which, gestures play a pivotal role in supporting and demonstrating what we intend to express. On the contrary, gestures have no role to play in writing and at times, expressing what we exactly want to express seems an ambitious task. The challenge was always there, right from the use of Hieroglyphs to the alphabetic- language followed by a combination of both (alphabetic language & digital glyphs) we use today. These days, we have Emojis to support what we intend to express through writing and have the inclination to use them. Now, the question is -- do Emojis assist us in expressing what we intend to? Do Emojis form a language? Do words not suffice or are they too tedious to be used quite often? Are we getting used to using short cuts because of laziness that tempts us and saves our time and efforts? These are just a few questions; many others might be tormenting intellectuals who have been in constant love with words. This paper is an empirical study that intends to explore the use of Emojis, its role and prevalence in written communication, through a survey. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article deals with Samuel Beckett’s first essay “Dante… Bruno. Vico.. Joyce” which was published in the avant-garde magazine transition in 1929 at a time when modernism was itself becoming tradition. If Beckett’s critical writing praises one of the modernist champions, James Joyce, it also feeds on other arts, such as cinema and its relation to ideographic writing, as well as on more questionable sources such as the science of the occult. By so doing, Beckett goes against the established avant-garde, whether they are they are writers or critics. I argue that Beckett borrows from the writings of Italian philosopher Giordano Bruno to shape his own literary principle, that of “identified contraries,” proposing a formula without imposing a programme. This propels him to the heart of three modernist principles: “historical modernism”, “hieroglyphic modernism” and “alchemical modernism.” This article means to explore them in the light of Beckett’s essay.

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Data words are sequences of pairs where the first element is taken from a finite alphabet and the second element is taken from an infinite data domain. Register automata provide a widely studied model for reasoning on data words. In this paper, we investigate automata models for quantitative aspects of systems with infinite data domains, e.g., the costs of storing data on a remote server or the consumption of resources (e.g., memory, energy, time) during a data analysis. We introduce weighted register automata on data words over commutative data semirings equipped with a collection of binary data functions, and we investigate their closure properties. Unlike the other models considered in the literature, we allow data comparison by means of an arbitrary collection of binary data relations. This enables us to incorporate timed automata and weighted timed automata into our framework. In our main result, we give a logical characterization of weighted register automata by means of weighted existential monadic second-order logic; for the proof we employ a new class of determinizable visibly register automata. Highlights • Introduction of weighted register automata over commutative data semirings with binary comparison relations for data. • Relationship between register automata and timed automata. • Closure properties for the class of behaviors of weighted register automata. • Expressive equivalence result for weighted register automata and a suitable weighted existential monadic second order logic. • A new class of determinizable visibly register automata. [ABSTRACT FROM AUTHOR]

The paper deals with an ancient Egyptian text from the Archaeological Museum in Zagreb collection. It provides the hieroglyphic text, with its transliteration and translation, of Papyrus Zagreb E-605. The papyrus fragment contains hours 10-12 from the Amduat, dated to the 21st or 22nd Dynasty, during the Third Intermediate Period. The text describes renewal of life in the natural cycle of the Sun at the end of the adventures of the joint nocturnal journey of the god Re and a human soul. [ABSTRACT FROM AUTHOR]

The paper answers the questions: What is a word? What contributes to the formation of a word? What are the components of a word? What is the meaning of the word 'word'? What is the meaning of the word 'meaning'? How do words acquire meaning? It analyses the questions from Semiotic, Syntactic, and Semantic points of view and answers them in in the context of semantic analysis following Saussure, Strauss, Heidegger, Stanley Fish, and Latour. It introduces the readers to the meaning of the terms Semiotics and Semantics, the historical background in which these words are coined, Saussure's contribution to the study of language, the basic elements of Semiology, a letter of the alphabet, a word, the use of an image of a thing, a hieroglyph, and a character as signs to convey the meaning in specific contexts which are essential to the interpretation and understanding of the meaning of words used in communication. [ABSTRACT FROM AUTHOR]

Over 5000 years ago, together with the proto-hieroglyphics that helped to understand the events recorded in bas-relief, there also appeared, as we will demonstrate, a technical 'description' of the plan for a fortified city wall that, though schematic, provided sufficient elements to perform a mathematical calculation of form and structure. Properly illuminated and enlarged, the image, according to the manner and technology used, allows for measurement, justifying the representative and configurative choices of the methodologically deduced three-dimensional model. Comparison with the remnants of structures of the same age and the geographic location of the relic supports and confirms such decisions. [ABSTRACT FROM AUTHOR]

The main purpose of this article is the publication and study of two wooden lids in El-Ashmunein Magazine. Illustrated drawings are produced for the first time. The complete text of the five columns of hieroglyphs on the lid No.1410 and of the four columns of the lid No. 1411 are the Nut formula, PT 638-639 (sections a-d), which were incorporated later into the last part of the 178th chapter of the Book of the Dead. [ABSTRACT FROM AUTHOR]

Proteins, the main cell machinery which play a major role in nearly every cellular process, have always been a central focus in biology. We live in the post-genomic era, and inferring information from massive data sets is a steadily growing universal challenge. The increasing availability of fully sequenced genomes can be regarded as the ‘Rosetta Stone’ of the protein universe, allowing the understanding of genomes and their evolution, just as the original Rosetta Stone allowed Champollion to decipher the ancient Egyptian hieroglyphics. In this review, we consider aspects of the protein domain architectures repertoire that are closely related to those of human languages and aim to provide some insights about the language of proteins. [ABSTRACT FROM AUTHOR]