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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 essay pays mournful tribute to Laura Marcus through a reading of Hilda Doolittle's extrapolations of Freudian psychoanalysis, an area of scholarship pioneered by Marcus. Examining the dream-like shapes of H.D.'s writing on Freud in Tribute to Freud and her own oneiric experiences in works such as Helen in Egypt, it elaborates on what H.D. called 'the hieroglyph of the unconscious', cinematic realms of projection which bear testimony to ineffable events that seem to occur outside of time. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 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.

This meditation is an experimentation with Hortense Spiller's concept of psychoanalytics. It considers the hieroglyph as a repetitive and enacted (but unrepresentable) force of historical trauma marking black bodies and passed between them generationally (much like the Lacanian object a). Reading the Lacanian pass and erotogenic zones as heuristic features of the hieroglyph, this meditation presents black nihilism as an analytic setting enabling the hieroglyph to speak its ineffable repetition, rather than just a repertoire of hedonistic pleasures and destructive behaviors as described in black optimism. [ABSTRACT FROM AUTHOR]

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.

In "Mama's Baby, Papa's Maybe: An American Grammar Book," Hortense Spillers draws a parallel between the discursive and material field of violence that assisted in the production of the captive body. She asks: "We might well ask if this phenomenon of marking and branding actually 'transfers' from one generation to another, finding its various symbolic substitutions in an efficacy of meanings that repeat the initiating moments?" In response to her inquiry, this paper presents a theory of "transfer" of hieroglyphics from one generation to another through a semiological reading of language and myth. This theory of "transfer" will ultimately argue that because language must be iterable, and thus communicable in different contexts, black time is structured by both continuity and severe disjunctures that perform a series of symbolic substitutions for use outside of their initiating moments. [ABSTRACT FROM AUTHOR]

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.

Wushu is widely misunderstood and its essentially combative nature is being challenged in public discussion. Understanding and recovering its essential nature has become a core issue. This paper first conducts a review of the history of the Chinese hieroglyphic 武 (Wu) which is the core of the phrase of Wushu, and explores the word's two most widely-accepted interpretations: 'to carry a dagger-axe to fight with' and 'to put away the dagger-axe and stop fighting'. Understanding these two interpretations of Wu is the key to understand Wushu which is an art about Wu. Second, this paper, referencing cultural history, analyzes different methods of Wushu practice: Gedou (free combat), Taolu (compiled routine) and Gongfa (basic prowess). Third, based on Wittgenstein's concept of family resemblance, this paper analyzes the different sorts of opponents, either real or imagined, in Taolu, Gedou, and Gongfa. Finally, this paper redefines Wushu as a culture of adversaries where such adversaries implicitly transfer the practitioner's focus 'from non-human to human' and 'from others to the self'. [ABSTRACT FROM AUTHOR]

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' selfawareness. 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. [ABSTRACT FROM AUTHOR]

El articulo discute sobre la escritura jeroglífica de Xochicalco con el enfoque de del sistema de escritura del Epiclásico en Mesoamérica y los avances recientes prometedores en los últimos 15 años mediante la documentación e investigación de este sistema de escritura.

A careful reading of the battle in the Bonampak murals offers new insights into eighth-century strategies for warfare, and the importance of overwhelming force in both aggression and deterrence. These same two strategies were critical during the Spanish invasion, especially in defense of freshwater resources. The murals of Bonampak provide insights into the Maya battle, including the emphasis on teamwork in execution of battle tactics and the seemingly contradictory emphasis on the individual, in terms of hieroglyphics. Despite exhaustive study of the paintings, the potential consideration of color-defined and pattern shields also may reveal groupings of warriors previously unrecognized in both battle and presentation of captives. Sixteenth-century accounts by Spanish invaders confirm a practice that includes defense of water sources along the coast of Yucatan, with details that can be evaluated regarding eighth-century Maya practice. [ABSTRACT FROM AUTHOR]

The brain text, which is mainly relative to material texts such as literary texts and visual texts, is an immaterial text and a crucial step in the formation of literary classics. This paper takes Book of the Dead, the earliest written literary work, as an example to explore the presentation of brain text in the generation of classics. The first part of the paper argues that the concept of "animism" is based on the perception of the brain text, which reflects the earliest religious consciousness of human beings and adapts to the needs of ethical choices. The second part of the paper argues that the brain text of Book of the Dead, while relying on oral transmission, also strives for textual transformation, of which papyrus and hieroglyphics are two elements. The third part of the paper, on the other hand, focuses on the ethical needs and didactic functions in the process of the generation of classics. As a literary classic, the ethical teaching function of Book of the Dead fully illustrates that there is no classic without ethics, and the role of ethical choices, including the meaning of the brain text, in the process of the formation of classics is extremely important. [ABSTRACT FROM AUTHOR]

Classic Maya hieroglyphic writing displays a coherence across time and space that points to intensive, sustained communication among scribes about what they were writing and how. Yet we know little about what scribal transmission looked like on the ground or what knowledge scribes were conveying among themselves. This article examines the monumental hieroglyphic corpora from two communities, at Copan in western Honduras and at Palenque in Chiapas, Mexico, to illustrate local processes of innovation and exchange that shaped participation in regional transmission. I argue that distinct 'cultures of creativity' developed at Copan and Palenque from local elites' varying understanding of their position in the Maya world and the nature of hieroglyphic inventions. These case studies attest to the multi-faceted nature of scribal production and exchange within a hieroglyphic tradition that remained largely coherent despite never being centrally administered. In addition, the study's palaeographic methods suggest possibilities for tracing dynamics of cultural innovation and transmission in the ancient past at multiple scales of society. [ABSTRACT FROM AUTHOR]

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]

Semantic characters such as for ‘skiing’ represent meaning rather than sound. For centuries, great minds such as Descartes, Leibniz, Francis Lodowyck, and Rev. John Wilkins have called for the creation of a writing-system comprised completely of semantic characters. Such a writing-system must possess enough characters to represent the universe; But too many characters will pose a challenge for users to learn and remember. This article argues for principles limiting the number of basic, non-derived characters (“radicals”) while maximizing the expressive power coaxed from them. I advance three primary strategies here: First, use of the arrow or other selector to derive related meanings from one radical (e.g., for ‘skier’ as opposed to (no arrow) for ‘skiing’); Second, a series of “radical-disqualifiers” requiring most concepts or notions to be derived from one or more radicals, rather than being represented by one radical. Finally, constructing radicals from smaller elements whose meanings are consistent across them (e.g., if we designate the single-shafted arrow to mean ‘change’, then it should appear with that meaning in all radicals dealing with change.). Ample visual examples illustrating these points are given, applying these principles to Egyptian, Chinese, Mayan and some modern constructed systems. [ABSTRACT FROM AUTHOR]

This article examines stylistic and linguistic aspects of photographic thinking in the novels of Fyodor Dostoevsky and Bruno Schulz. The analysis is framed by the insights of Western and Ukrainian theorists of the image. The development of photo technologies anticipates photographic thinking as an aesthetic phenomenon. Photographic thinking is embodied in the specific artistic and imaginative reflection of reality and the human world, embedded on the linguistic—syntactic—level of the artistic text. In Dostoyevsky’s tract, the text can be seen as a photo album with consecutive snapshots, each frame containing a certain dominant. On the syntactic level, the phrases “suddenly” and “for a moment” introduce the photographic frame or a change of frame. The phrase “for a moment” grounds a new poetic technique, a way of capturing the psychological states of a character when the soul is revealed, that is, when he or she is reacting unconsciously. The capturing of life from the point of view of a camera distinguishes the surrealist fiction of Bruno Schulz. This photographic perspective is connected with a new conceptualization of temporality: the past and the present are on the same plane and neither is the time of representation, which means the subject of representation is always dead. The conception of time as ‘frozen’ in the moment is also part of Dostoevsky’s poetics. [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.)

The earliest pieces of evidence of human ability to communicate and desire to create are represented by symbols, hieroglyphics and sign language. OM' is the root syllable of origination and dissolution, Bija' of all mantras. Yet, it is significant to value the differences in form and expression of OM according to each culture. It is important to observe different forms of OM as independent, individual forms, and yet not just variations of OM after appreciating the difference in thinking, sense of beauty, and artistic creativity, you may envelop them in the profound meaning of OM again by seeing Narendra's kinetic art drawings of OM. His chronicle as a graphic artist and a creative painter is awe-inspiring; he is one of the earliest artists to use typographical designs in his paintings. He adopted the geometrical forms of kinetic art and introduced the sacred symbol OM in different geometrical forms. And the result was a genuine blend of the art of East and West obsessed with 'OM'. His "Om" series of drawings is the highlight of his career. His drawings are a broader form of kinetic art. [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 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]

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. [ABSTRACT FROM AUTHOR]

A familiar story about the evolution of alphabets is that individual letters originated in iconic representations of real things. Over time, these naturalistic pictures became simplified into abstract forms. Thus, the iconic ox's head of Egyptian hieroglyphics transformed into the Phoenician and eventually the Roman letter A. In this vein, attempts to theorize the evolution of writing have tended to propose variations on a model of unilinear and unidirectional progression. According to this progressivist formula, pictorial scripts will tend to become more schematic while their systems will target smaller linguistic units. Objections to this theory point to absent, fragmentary, or contrary paleographic evidence, especially for predicted transitions in the underlying grammatical systems of writing. However, the forms of individual signs, such as the letter A , are nonetheless observed to change incrementally over time. We claim that such changes are predictable and that scripts will in fact become visually simpler in the course of their use, a hypothesis regularly confirmed in transmission chain experiments that use graphic stimuli. To test the wider validity of this finding, we turn to the Vai script of Liberia, a syllabic writing system invented in relative isolation by nonliterates in ca. 1833. Unlike the earliest systems of the ancient world, Vai has the advantage of having been systematically documented from its earliest beginnings until the present day. Using established methods for quantifying visual complexity, we find that the Vai script has become increasingly compressed over the first 171 years of its history, complementing earlier claims and partial evidence that similar processes were at work in early writing systems. As predicted, letters simplified to a greater extent when their initial complexity was higher. [ABSTRACT FROM AUTHOR]

In this article we present the first edition of five Hieroglyphic Luwian inscriptions of Ancoz and Samsat provenance from the Adıyaman Museum, provide clarification on the records of previously published inscriptions from Ancoz and Samsat, suggest a join with an existing Ancoz inscription, and offer a discussion on the nature of the rulers of Kummuh. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 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.

Inspired by life course and osteobiography approaches, this article explores the life and death of an individual associated with the lakam title ("banner" in Colonial Yukatek Maya; thus, a "standard-bearer"), a nonroyal elite of Late Classic period Maya society (AD 600–850). Although these elites are depicted on polychrome vessels and carved monuments, little is known about their life experiences and mortuary practices. The present analysis centers on an individual found at Structure GZ1, a temple with a hieroglyphic stairway, at the Maya archaeological site of El Palmar, Mexico. Using osteological, archaeological, and epigraphic data as different lines of evidence, we examine the relationship of the individual to his affiliated group. At the time of interment, there were a wide array of social, cultural, and political events both shaping and reshaping the body and identities of the individual during a period of political turbulence. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytic Divinity is the property of Analytic Divinity Center 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 Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)