Enter The Palace of the Monarch to experience Chinese horror and mystery in a fully realized virtual reality game. Follow a trail of cryptic letters and portraits, solving many unique puzzles in ever more extraordinary places€”this is a mysterious journey where knowledge meets myth. This fully immersive game asks the player, in the role of the first son of House of Lin, to return to an ancient palace to fulfill solve a mystery. This game is unique to Western markets, bringing Chinese culture, history, writing, and horror sensibility and coupling this with a carefully designed and paced mystery that is told through discoveries in the game world. Ultimately, players will unveil the hidden secrets of the palace. Through research on environmental storytelling, human computer interaction, and game puzzle design, we want to provide the game with fascinating and immersive VR experience.

<p> The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. This pattern can and should be broken, allowing the stone to be what all objects truly are: windows to the lives that that objects have lived, just as all physical things are; evidence of an experience part of the world went though, whose meanings have and continue to be part of a wider network of object-meanings. The underlying purpose of this thesis is to use the Grand Cameo to prove this point. It does so by asking why the Grand Cameo came into being using Aristotle's four-part fragmented "Why" to widen this meaning broadly enough to expand the scope of what cause means from the vernacular use of the term to include material, formal, efficient and final causes. This allows for a sufficiently satisfactory exploration of many elements of the ancient world. </p><p> This thesis comprises an introduction, five chapters, and a conclusion. The first chapter discusses the material sardonyx itself, its possible origin points and how it would have been seen and used in its time in both the India and the west. It discusses the development of trade routes through the Indian ocean and Hellenistic and Egyptian ties to the east which were later taken over by Rome, as well as the Ptolemies, who they replaced. The second chapter discusses the relationship between Rome and Egypt, how their imagery and materials were usurped, and how this connects to the cameo, a medium that became Roman. Chapter three discusses Rome's absorption and reuse of Hellenistic kingdoms, their people and their culture to see how these influenced images of Roman Rulers in the transition from the Republic to the Julio-Claudians. The fourth chapter details the nature of Julio-Claudian power in Rome, the roles the family took over, and how they made themselves essential to the state, especially in how this relates to imagery from the Grand Cameo. Finally, the fifth chapter allows for the exploration of final cause by using a process of elimination based on living number of family members to establish a coherent narrative for the stone's scene, allowing an interpretation of message and intent. It seems most likely to be justifying the handing over of power to Emperor Claudius as intended by the heavens regardless of the plans of his relatives. </p><p> A roughly chronological understanding of this stone's role from being plucked from the ground to the imperial court is presented by assessing available material. The expansive nature of the question "Why?" allows for an explanation of the stone both broader and more satisfactory than the intentions of one emperor alone, however interesting. The Grand Cameo intersects with the highly international and interactive dynamics of the ancient world as well as specific elements therein which earlier interpretations do not allow for room to explore. </p><p>

Identifying the ‘Lucanians’ has long been a complex issue. Myriad approaches have sought to correlate the archaeological record with ancient Greek and Roman narrative, while others have attempted to analyse aspects of warfare, burial rituals, grave goods and architectural typologies from a ‘Lucanian’ perspective. However, one fundamental aspect of cultural identity has hitherto been neglected: food-ways and the domestic food system in particular. Within the discussion of household knowledge, Aristotle notes ‘men must all have food, and the differences in their food have made differences in their way of life’. Despite the incompatibility of hierarchical organisation and the city-state model for ancient ‘Lucania’, the household remains the smallest unit upon which socio-political organisation of any type is rooted; the analysis of food preparation and cooking, beginning at the household level, is therefore essential for the study of ancient identity. Utilising the domestic food system methodology – spatial analysis on food preparation and cooking spaces, artefact analysis related to food-ways and both zooarchaeological and palaeobotanical evidence – this thesis reinvestigates 4th-2nd century BC habitation structures, drawing previously unseen patterns to the fore: 1) a female domestic area inclusive of food preparation, cooking and textile production; 2) an architectural distinction between domestic and ritual food preparation and cooking areas; and 3) communal dining that rejects elite banqueting rituals. That the artefact is an integral dimension of culture is axiomatic. Yet, scholarly approaches to ‘Lucanian’ cultural identity have failed to investigate the behaviour patterns and social interactions imbued within the objects that form the domestic food system. The intrinsic connection to identity encompassed in cookware ceramics, zooarchaeological evidence and domestic assemblages – and, in the relationships to both each other and to the interior space – creates a cultural boundary that provides invaluable information for the study of ‘Lucanian’ identity and, further, facilitates comparative research with similar groups of peoples. The domestic food system procures the baseline upon which shifts in socio-economic and political organisation can be overlaid, thus furthering the overall objective of this thesis: to recognise emerging patterns of cultural resilience and identity related to food practices.

This dissertation is the first detailed description and in-depth analysis of the Middle Kingdom (2055-1650 B.C.) ceramic assemblage from the archaeological site of North Abydos, Egypt. It focuses on the pottery from an area just outside the main temple of the god Osiris, which was called the “Terrace of the Great God” during this period, where many private individuals built mud-brick chapels for their commemoration. Chapter 1 provides the background information, such as the history of previous investigations of the site and the design of the present research project. Chapter 2 describes the archaeological contexts of the pottery assemblage, including the types, distribution, and chronological sequence of the memorial chapels, as well as the stratigraphic information gleaned from new archaeological excavations. Chapter 3 lays out the pottery fabric types that are attested at the site and presents the results of the quantitative analyses of various fabrics. Chapter 4 discusses the form classification system. Each morphological type is defined, illustrated, and provided with comparanda from other sites and notes on their chronological significance. This chapter also presents the results of the quantitative analyses of various forms. In Chapter 5, more specific dates are assigned to the stratigraphic phases discussed in Chapter 2 based on the ceramic evidence. Chapter 6 examines the ceramic industry at North Abydos during the Middle Kingdom and compares and contrasts it with the modes of pottery production and distribution that were practiced in the rest of Egypt during the same period. The assemblage analyzed in this study is catalogued in an appendix and illustrated in the figures. General index is provided.

This study comprises a translation and commentary of Book I of the Planetary Hypotheses by the second century A.D. Greco-Roman astronomer, Claudius Ptolemy. It closely examines the Planetary Hypotheses on its own and in relation to Ptolemy’s other writings. Where necessary I rely on astronomical, philosophical, and technological works by other writers in order to better situate Ptolemy’s ideas into the context of Greco-Roman science. The dissertation is organized into three sections. Section I consists of an extended introduction to the Planetary Hypotheses. I offer a synopsis of the Planetary Hypotheses and a history of the text in Sections I.1 and I.2. Section I.3 consists of a brief introduction to notation and sexagesimal numbers while Section I.4 analyzes the aim and function of Ptolemy’s planetary models. Section II is a translation of the existing Greek text of the Planetary Hypotheses, namely Book I Part A, and a précis of Book I, Part B. The translation is made from J.L. Heiberg’s edited Greek text and the précis relies on the English translation by Bernard Goldstein, the French translation by Regis Morelon, and the Arabic Manuscripts found in the British Library (Arabic-A) and the Library at the University of Leiden (Arabic-B). The footnotes include variant readings from the different Greek and Arabic Manuscripts. A list of all existing manuscripts of the Planetary Hypotheses can be found in Section I.2 Section III is a commentary of the entirety of Book I (Parts A and B). This section is arranged so that it loosely follows the order of topics found in the Planetary Hypotheses. Section III.1 examines the Planetary Hypotheses in terms of instrument-making. Section III.2 discusses the geometric models that Ptolemy presents along with a discussion of the changes that he makes. I give an overview of the period relations and mean motions presented in the Planetary Hypotheses in Section III.3 and III.4 and the new frame of reference in Section III.5. Section III.6 briefly examines Book II of the Planetary Hypotheses and Section III.7 addresses the relationship of Book I and Book II and contextualizes this work in the history of Greco-Roman science. Finally, Section III.8 examines the role the Planetary Hypotheses played in developments within Medieval Islamic astronomy. While I focus on the changes that Ptolemy made to the models in the Planetary Hypotheses from his theories in the Canobic Inscription, Handy Tables, and the Almagest, this work aims to explore the motivations behind these changes. Additionally, I contextualize the Planetary Hypotheses within Greco-Roman and Islamic astronomy and technology. What emerges from this dissertation is a consideration of Ptolemy’s ideas about the practice of science and an analysis of how he modeled astronomical observations.

This study comprises a translation and commentary of Book I of the Planetary Hypotheses by the second century A.D. Greco-Roman astronomer, Claudius Ptolemy. It closely examines the Planetary Hypotheses on its own and in relation to Ptolemy’s other writings. Where necessary I rely on astronomical, philosophical, and technological works by other writers in order to better situate Ptolemy’s ideas into the context of Greco-Roman science. The dissertation is organized into three sections. Section I consists of an extended introduction to the Planetary Hypotheses. I offer a synopsis of the Planetary Hypotheses and a history of the text in Sections I.1 and I.2. Section I.3 consists of a brief introduction to notation and sexagesimal numbers while Section I.4 analyzes the aim and function of Ptolemy’s planetary models. Section II is a translation of the existing Greek text of the Planetary Hypotheses, namely Book I Part A, and a précis of Book I, Part B. The translation is made from J.L. Heiberg’s edited Greek text and the précis relies on the English translation by Bernard Goldstein, the French translation by Regis Morelon, and the Arabic Manuscripts found in the British Library (Arabic-A) and the Library at the University of Leiden (Arabic-B). The footnotes include variant readings from the different Greek and Arabic Manuscripts. A list of all existing manuscripts of the Planetary Hypotheses can be found in Section I.2 Section III is a commentary of the entirety of Book I (Parts A and B). This section is arranged so that it loosely follows the order of topics found in the Planetary Hypotheses. Section III.1 examines the Planetary Hypotheses in terms of instrument-making. Section III.2 discusses the geometric models that Ptolemy presents along with a discussion of the changes that he makes. I give an overview of the period relations and mean motions presented in the Planetary Hypotheses in Section III.3 and III.4 and the new frame of reference in Section III.5. Section III.6 briefly examines Book II of the Planetary Hypotheses and Section III.7 addresses the relationship of Book I and Book II and contextualizes this work in the history of Greco-Roman science. Finally, Section III.8 examines the role the Planetary Hypotheses played in developments within Medieval Islamic astronomy. While I focus on the changes that Ptolemy made to the models in the Planetary Hypotheses from his theories in the Canobic Inscription, Handy Tables, and the Almagest, this work aims to explore the motivations behind these changes. Additionally, I contextualize the Planetary Hypotheses within Greco-Roman and Islamic astronomy and technology. What emerges from this dissertation is a consideration of Ptolemy’s ideas about the practice of science and an analysis of how he modeled astronomical observations.

This dissertation is the first detailed description and in-depth analysis of the Middle Kingdom (2055-1650 B.C.) ceramic assemblage from the archaeological site of North Abydos, Egypt. It focuses on the pottery from an area just outside the main temple of the god Osiris, which was called the “Terrace of the Great God” during this period, where many private individuals built mud-brick chapels for their commemoration. Chapter 1 provides the background information, such as the history of previous investigations of the site and the design of the present research project. Chapter 2 describes the archaeological contexts of the pottery assemblage, including the types, distribution, and chronological sequence of the memorial chapels, as well as the stratigraphic information gleaned from new archaeological excavations. Chapter 3 lays out the pottery fabric types that are attested at the site and presents the results of the quantitative analyses of various fabrics. Chapter 4 discusses the form classification system. Each morphological type is defined, illustrated, and provided with comparanda from other sites and notes on their chronological significance. This chapter also presents the results of the quantitative analyses of various forms. In Chapter 5, more specific dates are assigned to the stratigraphic phases discussed in Chapter 2 based on the ceramic evidence. Chapter 6 examines the ceramic industry at North Abydos during the Middle Kingdom and compares and contrasts it with the modes of pottery production and distribution that were practiced in the rest of Egypt during the same period. The assemblage analyzed in this study is catalogued in an appendix and illustrated in the figures. General index is provided.

Western India

Yasovarman

Sanchi sculptures