This paper examines consonant-vowel syllabic spelling in Maya hieroglyphic writing, comparing it with Japanese writing, both of which use logo-syllabograms. The central aim is to suggest a new perspective that will contribute to building testable theories for Mayan hieroglyphic spelling rules. Two research questions addressed here are: 1) how does the ancient Maya spelling system work; and 2) what is the motivation behind the ancient Mayan people's choice and use of CV syllabograms and logo-syllabic writing. I will investigate these questions from the following perspectives: 1) linguistic approaches to logo-syllabic writing systems; 2) phonetics; 3) a native Japanese speaker's intuition; 4) relationships between spoken and written languages. By using linguistic theories and methods with anthropological comparative methods, I propose the hypothesis that a word-final vowel in Maya hieroglyphic writing represents either an echo-vowel, a part of grammatical morpheme, a paragogic vowel accounting for word-final syllabification, or an underspelled word-final consonant.

In this study, I extended input methods for the Japanese language to Egyptian hieroglyphics. There are several systems that capable of inputting Egyptian hieroglyphic writing. However, they do not allow us to directly input hieroglyphs, for instance, into MS Word. The new Egyptian hieroglyphic input system being reported here, developed using technology used for inputting Japanese writing, is quite unique and allows the direct input of hieroglyphs, for example, into MS Word. Ancient Egyptian hieroglyphs and the Japanese writing system (with its mixture of hiragana, katakana and kanji) share basic graphemic characteristics. For instance, Ancient Egyptian hieroglyphic logograms are functionally similar to Japanese kanji logograms (Chinese characters), whereas Egyptian hieroglyphic phonograms are functionally similar to Japanese hiragana and katakana syllabic phonograms. The input technology for Japanese makes it possible to input a mixture of logograms and phonograms, and phonetic complements. This technology is a well-organized and handy tool to input Japanese writing into computers, having been used by over 100 million people. I applied this technology to Ancient Egyptian hieroglyphic inputting and created a new intuitive hieroglyphic inputting system using Google Japanese Input. Using this method, anyone can directly write Egyptian hieroglyphic writing into software like MS Word. If the transcription of an ancient Egyptian word is entered, the correct hieroglyphs are generated by this system. If there are multiple options for any phonemic combinations that use other combinations of phonetic complements or determinatives, a dropdown window with a list of several combinations of glyphs appears and the user can choose the desired combination.

Topics fragmentary , symbolism and memory are the basic elements of creation and thinking Adele Sobotková (1987 ) . In her installation made of clay and covered with a udusaných objects together with the soil can walk, touch , read, intervene . This raises a cryptographic magical space full of mysterious objects in the video that represent clusters of personal hieroglyphic symbols and structures without the possibility of accurate decryption. These enigmatic characters are like glass or water , are changing , floating landscapes and refer to feelings of uncertainty, and forgetting the past, which is not entirely clear - is revealed as a mirage . Hologram is a representation of reality or reality that no longer exists but in time, or never existed , dream hi - technology , the current symbol of immortality, infinite and preservation in time. " Holographic hieroglyph " is a fluid phenomenon with varying meanings depending on its reading , the transcript or constant metaphor memories and the zpřítomňování hand in hand zpřítomňování a revival oblivion . Unclear character that has certainly not decipher , and yet we have it all in front of him , we see him from all sides , but also through him is the present and yet unreal . Great recording of uncertainty. (press release of the exhibition Holographic Hieroglyph in the Youth Gallery in Brno)

As one of many other distinct painting styles that appeared on ceramics throughout the Guatemalan Lowlands of the Late Classic Period (AD 600-900), the Red Background vases represented the economic reach of the owner into local and foreign courtly culture. Supernatural processions, playful hieroglyphic texts, and the distinctive red background circulated on vases, plates, and bowls in order to perform prestige and the elite identity in public feasts. The diverse narrative content of these vessels reveals the importance of mytho-historic origin stories and supernatural identities to the prevailing political order, while the unique hieroglyphic texts link the style and its imagery to the royal court of Pa’ Chan. However, the lack of context for most of these vases thwarts a straightforward understanding of their role in Maya society as objects from a specific geographic place with archaeological provenience. Despite this inability to embed the Red Background vases within a robust archaeological framework, the production and circulation of a visually distinct style by a named community still indicates that the creators of these objects wished to communicate a unique artistic identity through an intersection of formal qualities. Refocusing the question of agency through the lens of the final product reveals that these works acted as part of a larger campaign to create the typical courtly trappings of master artisan production and public social feasting with representatives of other powerful polities. This Master’s Thesis aims to examine the current corpus of almost sixty vases in order to describe how the Red Background style manifests. In addition, my study explores the tendency of many polychrome styles to link a specific royal court with the artistic product through hieroglyphic emblems. I conclude that the unique Pa’ Chan emblem takes this extroverted statement of belonging to a higher level, providing an emic classification of the vase where the text comprises a social category of art that performs identity through its distinct visuals. / text

Submitted by Rômulo Titton Dezen (romulomil@uol.com.br) on 2018-05-04T18:03:39Z No. of bitstreams: 1 Estudo dos dispositivos retoricos em La Promenade Vermet, de Denis Diderot (versão final).pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-05-04T21:21:15Z (GMT) No. of bitstreams: 1 dezen_rt_me_sjrp_int.pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) / Made available in DSpace on 2018-05-04T21:21:15Z (GMT). No. of bitstreams: 1 dezen_rt_me_sjrp_int.pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Denis Diderot, auteur d'une oeuvre vaste et pluridimensionnelle, est une personnalité très reconnue et importante aux Sciences Humaines. La Promenade Vernet, partie intégrante du Salon de 1767, reflète bien la complexité de l'oeuvre du philosophe dans son intégralité car on peut observer des traits caractéristiques à plusieurs genres de texte tel que la fiction, l'essai et la critique. Le court texte est une « promenade » dans laquelle Diderot décrit avec maîtrise une série de sept « sites » sous prétexte de mettre en cause diverses sujets de nature philosophique et esthétique. Ce que le lecteur n'a pas d'accès — et arrive à apprendre seulement à la fin — est au fait que les descriptions des éléments des paysages ne font pas référence à sept campagnes, mais à sept tableaux d'un célèbre paysagiste français, Joseph Vernet. Pendant la « Promenade », Diderot et l'abbé, son interlocuteur et personnage fictif, débattent, dramatiquement, en longues journées, les convictions quant à l'art, à la position de l'homme dans le monde et aux moeurs. Cette recherche vise mettre en évidence les dispositifs rhétoriques utilisés par l'auteur, spécialement l'ekphrasis et le hiéroglyphe, tous les deux associés, directe ou indirectement, au rapport entre le verbal et l'imagerie (ut pictura poesis). Pour le développement de la recherche, des auteurs des époques variés sont utilisés, tel que Horace (18 a.C.), qui a inventé le terme ut pictura poesis ; Lessing (1768), qui a été fondamental au développement de la rhétorique ; et Lichtenstein (1994), dont l'oeuvre trace un parcours approfondi de l'histoire de la rhétorique visuelle et sur laquelle ce mémoire se base avec un certain accent. Dans le texte de Diderot, on remarque une importance significative de références classiques, ainsi, des articles qui éclairent-ils l'oeuvre de Diderot par ce point de vue ont été choisis pour constituer la recherche. À part cet apparat théorique, il est fait appel à textes composant l'oeuvre de Diderot qui ne font pas partie du Salon de 1767, ainsi que la Lettre sur les sourds et muets à l’usage de ceux qui entendent et qui parlent, dans laquelle on trouve l'expression « hiéroglyphe » pour la première fois. En plus des textes du critique philosophe, on se sert d'une riche fortune critique et essentiellement française qui s'applique à l'étude de l'oeuvre de Diderot, y compris Bukdahl (1980), Chouillet (1987), Starobinski (1991) et Delon (1995). Dans ce travail il est aussi possible de trouver une certaine exploration de l'esthétique et de la peinture, compte tenu de la nature plurielle du texte qui a été objet d'étude. Après cette recherche, on peut avoir une compréhension plus importante des rapports établis entre le visuel et l'écrit. Finalement, et par conséquence, l'examen de cet auteur et de son texte met en lumière ce qui a été les Salons, genre littéraire créé au XVIIIème siècle, qui, malgré sa courte duration (n'a survécu que pendant un siècle), a provoqué des importants dédoublements vers l'art et la littérature modernes. / Denis Diderot, autor de uma obra vasta e multifacetada, é tido como uma personalidade muito importante para as ciências humanas. La Promenade Vernet, trecho integrante do Salão de 1767, reflete bem a complexidade da obra do filósofo como um todo, pois é nele em que se observam traços de diferentes gêneros como ficção, ensaio e crítica. Esse curto texto é um “passeio” em que Diderot descreve com maestria uma série de sete “sítios”, com o pretexto de discutir diversas questões de natureza filosófica e estética. O que o leitor não sabe — e só vem a saber no final — é que as descrições dos elementos das paisagens não fazem referência a sete campanhas, mas sim a sete quadros de um famoso paisagista francês, Joseph Vernet. No “Passeio”, Diderot e o Abade, seu interlocutor e personagem fictício, discutem, dialogicamente, em longas jornadas, sobre suas convicções quanto à arte, ao lugar do homem no mundo e a questões morais. Esta pesquisa visa colocar em foco os dispositivos retóricos utilizados pelo autor, especialmente a ekphrasis e o hieróglifo, ambos associados, direta ou indiretamente, à relação entre o verbal e o imagético (ut pictura poesis). Para o desenvolvimento da pesquisa, são utilizados autores de variadas épocas, como Horácio (18 a.C.), que cunhou o termo ut pictura poesis; Lessing (1768), que foi determinante para o desenvolvimento da retórica; e Lichtenstein (1994), cuja obra traça um percurso aprofundado da história da retórica pictórica e na qual esta dissertação se apoia com certo destaque. No texto de Diderot, nota-se significativa importância de referências clássicas, portanto, alguns artigos que esclarecem a obra de Diderot por esse olhar também foram elencados para a constituição da pesquisa. Além desse aparato teórico, recorre-se a alguns textos da obra de Diderot que não são especificamente o Salão de 1767, como a Carta para os surdos-mudos ao uso daqueles que ouvem e falam, no qual o termo “hieróglifo” aparece pela primeira vez. Junto a textos do crítico-filósofo, faz-se uso de uma fortuna crítica rica e predominantemente francesa que se aplica ao estudo da obra diderotiana, entre eles Bukdahl (1980), Chouillet (1987), Starobinski (1991) e Delon (1995). Neste trabalho também é possível encontrar algum aprofundamento sobre estética e sobre a pintura, dada a natureza plural do texto que foi objeto de estudo. Há, a partir desta pesquisa, uma maior compreensão das relações estabelecidas entre o visual e o escrito. Finalmente, e por consequência, o exame desse autor e de seu texto traz à luz um pouco do que foram os Salões, gênero literário criado no século XVIII que, embora tenha sido de curta duração (sobreviveu por cerca de um século, apenas), teve desdobramentos importantes para a arte e a literatura modernas. / Denis Diderot, the author of a vast and multidimensional work, is a renowned personality to the Human Sciences. Promenade Vernet, an integral part of the 1767 Salon, reflects the complexity of the work of the philosopher in its entirety as we can observe some traces of genres such as fiction, essay, and criticism. The short text is a "walk" in which Diderot masterfully describes a series of seven "sites" under the pretext of questioning various subjects of a philosophical and aesthetic nature. What the reader does not have access to - and only learns at the end - is that descriptions of landscape elements do not refer to seven campaigns, but to seven paintings by the famous French landscape artist, Joseph Vernet. During the "Walk", Diderot and the abbé, his interlocutor and fictitious character, discuss dramatically, in long journeys, the beliefs about art, the position of man in the world and morality. This research aims to highlight the rhetorical devices used by the author, especially ekphrasis and hieroglyph, both associated, directly or indirectly, with the relationship between verbal and imagery (ut pictura poesis). For the development of the research, authors from different periods are used, such as Horace (18 b.C.), who coined the term ut pictura poesis; Lessing (1768), which was fundamental to the development of rhetoric; and Lichtenstein (1994), whose work traces an in-depth journey into the history of rhetoric of figures and on which this memoir is based with a certain accent. In Diderot's text, we note a significant importance of classical texts in other that articles that enlighten this perspective in Diderot’s work were chosen to constitute the research. Apart from this theoretical apparatus, it is appealed to texts composing the work of Diderot which are not part of the 1767 Salon, as well as the Letter on the Deaf and Dumb, for the Use of those who hear and speak, in which we find the expression "hieroglyph" for the first time. In addition to the texts of the critic philosopher, we use a rich critical and essentially French fortune that applies to the study of the work of Diderot, including Bukdahl (1980), Chouillet (1987), Starobinski (1991) and Delon (1995). In this work is also possible to find some exploration of aesthetics and painting, given the plural nature of the text that has been object of study. After this research, one can have a further understanding of the relationships between the visual and the written. Finally, and therefore, the examination of this author and his text highlights what the Salons was, a literary genre created in the eighteenth century, which has caused significant duplication towards modern art and literature despite its one-century duration.

Made available in DSpace on 2014-12-17T15:06:44Z (GMT). No. of bitstreams: 1 PedroGL.pdf: 4055992 bytes, checksum: 07612ef4f6c8a37bccd1cdde0131f320 (MD5) Previous issue date: 2009-01-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This master thesis is an overview of how the Egyptian writing became a ruin, and then was mythunderstood by the Western culture through speculations based on its figurative appeal or by its magical nature this invention results not only in new idea of writing, but also in many graphical experiments which take part in the creation of the Renaissance and Baroque visual identity / A presente disserta??o ? um panorama de como a escrita hierogl?fica eg?pcia se torna uma ru?na e ent?o ? reinterpretada pelo Ocidente atrav?s de especula??es motivadas por seu apelo imag?tico ou por seu car?ter m?gico uma inven??o que resulta n?o apenas numa nova id?ia escrita, transcendental, mas que se desdobra em v?rias experimenta??es gr?ficas que participam ativamente da cria??o da identidade visual do Renascimento e Barroco

In this study, I extended input methods for the Japanese language to Egyptian hieroglyphics. There are several systems that capable of inputting Egyptian hieroglyphic writing. However, they do not allow us to directly input hieroglyphs, for instance, into MS Word. The new Egyptian hieroglyphic input system being reported here, developed using technology used for inputting Japanese writing, is quite unique and allows the direct input of hieroglyphs, for example, into MS Word. Ancient Egyptian hieroglyphs and the Japanese writing system (with its mixture of hiragana, katakana and kanji) share basic graphemic characteristics. For instance, Ancient Egyptian hieroglyphic logograms are functionally similar to Japanese kanji logograms (Chinese characters), whereas Egyptian hieroglyphic phonograms are functionally similar to Japanese hiragana and katakana syllabic phonograms. The input technology for Japanese makes it possible to input a mixture of logograms and phonograms, and phonetic complements. This technology is a well-organized and handy tool to input Japanese writing into computers, having been used by over 100 million people. I applied this technology to Ancient Egyptian hieroglyphic inputting and created a new intuitive hieroglyphic inputting system using Google Japanese Input. Using this method, anyone can directly write Egyptian hieroglyphic writing into software like MS Word. If the transcription of an ancient Egyptian word is entered, the correct hieroglyphs are generated by this system. If there are multiple options for any phonemic combinations that use other combinations of phonetic complements or determinatives, a dropdown window with a list of several combinations of glyphs appears and the user can choose the desired combination.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008. / A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.

Abstract:Uniquely amongst the earliest writing systems, the Egyptian hieroglyphic script was sometimes enhanced by colouring the signs. This was not done in an arbitrary fashion, but was conventional, with each colour used in a conscious attempt either at materialism, naturalism, semi-naturalism or as a metaphor. This study aims to shed some light on the processes involved in writing in colour. The methodology, theory, analysis and extended commentary are to be found in Volume 1.The study shows that a polychrome canon was in use, in a remarkably coherent and stable fashion, during some two thousand five hundred years, from the Old Kingdom right through to the Ptolemaic period. A palaeography, showing the best examples of each hieroglyph together with a brief commentary, forms the whole of Volume 2. These exemplars are taken from a database of polychrome hieroglyphs: a collection of over three thousand six hundred signs extracted from fifty-two monumental inscriptions. They cover 67% of all the hieroglyphs found in Gardiner’s sign list. Those signs in the collection that possess coloured images can all be found in Volume 3. The palaeography is intended to be a practical tool, as is the application created in order to facilitate the navigation, consultation and update of the database.In the process of analysing this data, several commonly held ideas about colour symbolism and the identification of certain hieroglyphs were brought into question and rectified, where possible. However, many unanswered questions remain, leaving the door open to further fascinating research. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished

A study was undertaken of plants used for treatment of diabetic symptoms by traditional healers of the Eeyou Istchee Cree (Canada), Lukomir Highlanders (Bosnia & Herzegovina), and Q’eqchi’ Maya (Belize). All antidiabetic plants were ranked by syndromic importance value (SIV) based on 15 symptoms, all of which were recognized by the Cree and Maya and 8 by the Highlanders. The Cree used only 18 species, the Highlanders 41, and the Maya 150, numbers which reflect the diversity of flora in their region. Vaccinium (Ericaceae) was one of the few genera in all three regions and the only consensus genus between the Cree and Highlander study sites. The Q’eqchi’ Maya ethnobotany did not present any cross-cultural consensus genera with Cree or Highlander medicinal plants, perhaps due to major biogeographic differences. In ethnopharmacological studies, Vaccinium species and Q’eqchi’ antidiabetic plants were tested in an assay relevant to diabetes, the advanced glycation endproduct (AGE) inhibition assay. Boreal and tropical Vaccinium species were potent inhibitors of AGEs and demonstrated concentration dependent inhibition, with a half maximal inhibitory concentration (IC50) range of 5.93–100 µg/mL. Phenolic content ranged from 80.3 to 201 µg/mL in boreal samples and from 1470 to 2170 µg/mL in tropical samples. Tropical species have a greater phenolic content and AGE inhibition. Seven Q’eqchi’ antidiabetic plant species were tested and all plant extracts showed AGE-inhibition. The IC50s ranged from 40.8 to 733 µg/mL, and the most active was Tynanthus guatemalensis Donn.. Tynanthus guatemalensis IC50 was about fives times greater (less active) than the mean ± SE IC50 reported for six tropical Vaccinium species of Vaccinium (8.77 ± 0.79 μg/mL). The highest consensus and most active Maya antidiabetic plant, Tynanthus guatemalensis Donn. Sm. was discovered to be an important plant recorded in archeological artifacts from the Late Classic Maya period (~750 CE). Ancient Maya used a cross shaped sign (k’an glyph) as a decorative element on Late Classic polychrome vessels and murals. The sign was believed to be the xylem template for a plant used as a flavouring in cacao drinks. However, the plant was incorrectly identified in the literature as Pimenta dioica (L.) Merr. (common name: Allspice) based on a common name and aromatic plant quality – not from a botanical voucher specimen. Pimenta dioica wood does not have a cross shape visible in the xylem but a unique character visible after a cross section of T. guatemalensis, is the xylem's cross shape organization. Wood of T. guatemalensis' also has an "allspice" aroma. Tynanthus guatemalensis is most likely the true botanical template behind the ancient Maya k’an glyph and this finding would show the continuity of use of this medicinal plant from ancient to modern times. Vaccinium was selected for an in depth phytochemical analysis using modern metabolomic methods. Nuclear magnetic resonance (1H NMR) was used to evaluate leaf extract spectra to provide information on (1) the taxonomic identity and (2) quantities of bioactive metabolites across multiple sites. Spectra clearly differentiated leaf samples of V. angustifolium, V. boreale, V. corymbosum, V. macrocarpon, V. myrtilloides, V. myrtillus, V. ovalifolium, and V. uliginosum according to generic, subgeneric, specific, phenotypic circumscriptions. Quantification of chlorogenic acid and hyperoside were replicated with a method that is highly reproducible across multiple sites with different NMR equipment. This methodology provides an important new approach to taxonomy and quality control for plants and natural health products.