Literatura académica sobre el tema "Ancient British civilization Texts"

Since the earliest known historical period in Mesopotamian civilization, messages and correspondence written on clay tablets with special shapes, known in the Akkadian language as šipirtu or egirtu, represented one of the most prominent channels of communication and interaction that were active between individuals in transferring information and exchanging ideas and opinions, crossing over time and space. We are talking about an important and unique historical era in the history of this civilization, which is the Neo-Assyrian period (911-612 BC). It represented the preparation of official letters for the employees of the Assyrian Kingdom, as well as the letters of its kings, which were revealed by the results of the British Museum’s excavations from the late nineteenth century and the twentieth century (1850- 1905 AD) at the hill Quynjaq in Nineveh, within two sites: the first is the southwestern palace of King Sennacherib and the other is the northern palace, which number more than three thousand letters dating back to the late eighth century BC until the middle of the seventh century BC (716-645 BC), in addition to Other letters from the city of Nimrud (Kalhu) are of great importance and an inexhaustible resource in the study of the history of Assyria, not only because they represent a reflection of the system of administrative work and the development of the communications system in his vast kingdom, but they were also a mirror of the economic, political and social reality that this kingdom experienced in a prosperous period. It controlled half of the ancient world at that time, without being tampered with or subject to certain considerations that would affect its credibility. Based on that vision and the importance that these texts embodied and the scope for study and analysis, our goal in this research was to focus on a linguistic and rhetorical aspect represented by the style of discourse and the approach that was followed in organizing these messages by examining the types of these messages and knowing what each type carried. The ideas and meanings of these messages were undoubtedly reflected in the nature of the context and the choice of methods that take into account the situation and the artic.

From its prominent position on the river Ganges , Banaras has borne testimony to a flourishing civilization and the many socio-political turmoil associated with a thriving territory from the ancient kingdoms of Aryans with its mention in Ramayana to the combats of medieval rulers of Mauryan and Gupta dynasty and the never ceasing instability during the dominance of Muslim and British regime.[1] The historical unrest has vanished and the city with its inhabitants of “grin-and-bear-it” attitude endured every phase of this turmoil and adapted to it and commemorated every such change in their stories and culture. Every paradigm shift gave Banaras its own unique Art and Culture which it (Banaras) has assimilated and made it its very own signature be it Food, Fabric, Jewellery, Lifestyle, Mode of communication, Weapons, Architecture, Mythology, Tales, Culture, Cult , Art and much more The citys divine image , its elaborate traditional rituals , its prodigious display of the hand-in-hand existence of art and the mundane activities of life. All give it a peculiar feel, though the city has tried to keep pace with time, it has modernized or commercialised but what has stayed with time is what satiates the quench of a mystic or an explorer of Art and Culture . This write up here is an attempt to bring to words the connection between what the oldest civilizations or cults have left to enrich the Art & culture or other-way-round , how by exploring the existing we are able to get a glimpse into the glorious past that has passed and enriched India .This manuscript is a study and construal of Varanasi from the perspective of one who is close enough to the hindu tradition to see its religious significance and also close enough to art , design and academics to know the understanding that Arts and Varanasi might pose. The journey towards the finalization of this script started with mapping the city and searching for the temples mentioned in various texts and my work is based on two primary sources : the city itself with its multitude of temples , its seasons of pilgrimage , the Akharas , voluminous literature on Banaras and its pandas and lay interpreters.

Translation has often been characterized as a ‘central act' of European colonialism and imperialism. For example, it has been argued that translation had been utilized to make available legal-cultural information for the administration and rule of the non-West, but perhaps more importantly, translation has been identified as important for the resources it provided in the construction of representations of the colonized as Europe's ‘civilizational other.' In the context of British imperialism in South Asia, Bernard Cohn has persuasively demonstrated the first point, namely, that the codification of South Asian languages in the late eighteenth and nineteenth centuries served to convert ‘indigenous' forms of textualized knowledge into ‘instruments of colonial rule.' Translational technology, in the form of language grammars and dictionaries, Cohn argues, enabled information gathering and the effective communication of commands, as well as the (at least partial) displacement of European dependence upon interlocutors of perceived dubious reliability. Most recent discussions of translation in this context, however, have focused rather more upon the act of translation as a strategic means for representing ‘otherness' to primarily domestic British reading audiences. In this case, the act of linguistic translation is more clearly being enumerated as a practice of cultural translation. English translations of the ‘ancient' Sanskrit texts of India, for example, have been analyzed for the rhetorical work that the text performs in certain contexts. On the one hand, European-produced translations of these texts might serve to reinforce the dominance of a European aesthetic sensibility through a process of ‘naturalization,' in which the culturally-specific is ‘sanitized,' subordinated to a European norm, thereby inherently limiting the ‘artistic achievement' of the colonized. The orientalist William Jones' erasure of the motif of sweat as an indication of sexual interest and arousal in his translation of Kālidāsa's fourth- or fifth-century Sanskrit play Śakuntala is a case in point. On the other hand, literary translations from Sanskrit might also foreground the ‘otherness' of Indian texts and cultural norms through a strategy of ‘foreignization'; that is, by registering for the European reader differences in language and cultural content. For example, European translations from Sanskrit might include anthropological notations which explain the cultural relevance of the text, or might instead adopt an overly literal rendering of prose, thereby foregrounding differences in syntax, vocabulary, symbol, or motif. Both such rhetorical devices, it can be argued, leave the reader tripping over the text, giving him pause to consider the very strangeness of its appearance and contents.

Abstract Foundation of human civilization and endorsement of its potency are the consequences of prolonged women endeavor, which through its history of superiority and confinement, convey the picturesque of civilization. Since ages, the Indian societal structure has played an active role in stimulating the trends of change in women’s status, which with time also proved to be hindrance to the progress of this country. In this context, the study has attempted to emphasize the women’s status in ancient Indian civilization based on the ancient scripts and texts. The ancient era has been categorized into four distinct periods viz. the Vedic period, the Epic period, the period of Jainism and Buddhism and the age of Dharmaśāstras, Mánusmṛiti onward. The study has portrayed the relegation of the women’s dignified role and position entirely to a subservient one from Vedic period to the period of Dharmaśāstras, Mánusmṛiti onward.

This article is the result of many years of work devoted to the problem of the transition of the predynastic era of Egypt to the state. This transition period in the cultural and historical aspect contains both late-primitive phenomena and contents that indicate the development of society in the direction of social differentiation with the identification of aristocratic families headed by a social leader. These processes are reflected in the development of the archaeological culture of Naqada, which has passed through several phases of development, demonstrating the diversity of monuments, artifacts and pictorial texts that are the main sources for the pre-written era of Egypt. They are analyzed in the aspect of fundamental historical and cultural processes. Methodologically, this task is solved by using the developments and conclusions of a number of humanitarian scientific disciplines: semiotics, cultural studies, folklore, depth psychology, etc. This approach makes the research base, which is partly applied, more solid.

The aim of this paper is to contribute to the discussion of the relationship between manuscript and epigraphic traditions in premodern cultures by addressing aspects of the monumentality of writing in the context of Ancient Egyptian tombs near the end of the third millennium BC (the late Old Kingdom). Ritual texts inscribed on the walls of subterranean chambers of kings' and queens' pyramids at Saqqara are known as 'The Pyramid Texts', the earliest known mortuary corpus of any civilization. The texts, which are inscribed in hieroglyphs, are carved, decorated, and painted in green. They are laid out in columns and cover surfaces up to three metres high in the main chambers and in the passages leading to the entrances of the pyramids. While the texts were performed during rituals and recorded in writing in contexts that are now lost, the carved hieroglyphic forms in the pyramids make it possible to glimpse the extent of manuscript culture and scribal practices of this period. The process of inscription involved not only reconfiguration from manuscript to wall, but also reinterpretation of the texts in terms of the spatial, architectural, and symbolical context of the tomb. This paper investigates the idea of monumentality in relation to the way these texts were reconfigured in the pyramids.

The Egyptian civilization is known to have been one of the oldest civilizations the world. Today, it is attested that this civilization has a direct relationship with contemporary black Africa and, it also played an important role in the rise of Eastern civilization. I the field of religion, the contribution of Africa, particularly ancient Egypt, in the development of monotheism in the revealed religions is so highly probable. It is this contribution that this present study attempts to show through written sources, epigraphy and certain data provided by biblical and koranic texts.

The article is an edited and critical study of an unpublished astronomical text entitled "The Astronomical Instrument Known as The Two-Pronged Machine" of a Damascene astronomer from the thirteenth century AD, Ismail ibn Heba Allah al-Hamawi. ancient scientific texts on this instrument are written by al-Kindi then Ibn Abbad and al-Nayrizi. Al-Kindi's text is the only text published from ancient texts, and today we present to researchers in the development of astronomical instruments a new text to contribute to enriching our knowledge of the scientific tradition of astronomical instruments in Islamic civilization.

The Bai People have left behind a wealth of ancient texts that record their splendid civilization, unfortunately fewer and fewer people can read these texts in the present time. Therefore, it is of great practical value to design a model that can automatically recognize the Bai ancient (offset) texts. However, due to the expert knowledge involved in the annotation of ancient (offset) texts, and its limited scale, we consider that using handwritten Bai texts to help identify ancient (offset) Bai texts for handwritten Bai texts can be easily obtained and annotated. Essentially, this is a problem of domain adaptation, and some of the domain adaptation methods were transplanted to handle ancient (offset) Bai text recognition. Unfortunately, none of them succeeded in obtaining a high performance due to the fact that they do not solve the problem of how to separate the style and content information of an image. To address this, an information separation network (ISN) that can effectively separate content and style information and eventually classify with content features only, is proposed. Specifically, our network first divides the visual features into a style feature and a content feature by a separator, and ensures that the style feature contains only style and the content feature contains only content by cross-domain cross-reconstruction; thus, achieving the separation of style and content, and finally using only the content feature for classification. This greatly reduces the impact brought by cross-domain. The proposed method achieves leading results on five public datasets and a private one.

Las ciudades mesopotámicas estaban amuralladas desde sus orígenes. Muralla y ciudad, símbolo de civilización, eran dos conceptos inseparables. Por mandato de los dioses, el rey era el responsable de la fundación de las ciudades y de la construcción de sus sistemas de defensa, que fueron evolucionando como respuesta a los cambios producidos en el arte de la guerra en el Próximo Oriente antiguo. En este artículo se analiza, en particular, la documentación arqueológica y textual de dos modelos de ciudad fortificada: Mari (III-II milenio a. C.), en el norte, y Babilonia (II-I milenio a. C.), en el sur. Se realiza una nueva propuesta de interpretación del recinto defensivo interior de Babilonia. Palabras clave: Ciudades mesopotámicas, fortificacionesTopónimos: Habuba Kabira, Mari, BabiloniaPeríodo: IV-I milenio a. C. ABSTRACTMesopotamian cities were walled from their origins. Wall and city, a symbol of civilisation, were two inseparable concepts. By mandate of the gods, the king was responsible for the foundation of the cities and the construction of their defence systems, which evolved in response to changes in the art of warfare in the ancient Near East. This article analyses, in particular, the archaeological and textual documentation of two models of fortified cities: Mari (3rd-2nd millennium B.C.), in the north, and Babylon (2nd-1st millennium B.C.), in the south. A new approach to the interpretation of the inner wall of Babylon is proposed. Keywords: Mesopotamian cities, fortificationsPlace names: Habuba Kabira, Mari, BabylonPeriod: IVth-Ist millennium B. C. REFERENCIASAbrahami, Ph. (1997), L’armée à Mari, tesis doctoral, Université de Paris I (inédita).al-Rawi, F.N.H. (1985), “Nabopolassar’s Restoration Work on the Wall Imgur-Enlil at Babylon”, Iraq, 47, pp. 1-9.Aurenche, O. (dir.) (1977), Dictionnaire illustré multilingue de l’architecture du Proche Orient Ancien, Lyon, MOM.Azara, P. (dir.) 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This chapter considers how figures from ancient Greek and Roman culture were incorporated into the imaginative geographies produced by Victorian maritime narratives as part of their exploration of British imperial identity. It will focus on pantomimes that are based on Robinson Crusoe. Daniel Defoe’s 1719 novel about an adventurer who becomes a castaway had been building in popularity for a long time, attaining, in Watt’s view, the status of myth. The narrative thus occupies an important position in Victorian popular culture as well-known material that was suitable for adapting as part of Britain’s negotiation of its imperialist activities around the world. Pantomimes often made use of figures from classical mythology. The chapter uses a range of archival sources in its situating of these pantomimes at the convergence of a range of traditions: classical, theatrical, naval, and English-literary. Ancient myths are incorporated into more modern ones to produce spectacular, fantastical spaces.

This article summarizes and presents the ‘golden thread’ of a full performance of Mantrāṅkam lasting 41 days in the Kūṭiyāṭṭam tradition. A day-by-day description with a thorough analysis of the structure, short samples of the text and several photos give a clear idea of the body and composition of Mantrāṅkam. Further, the article recapitulates the study of Mantrāṅkam carried out by the author in 1995-97 and her restudy in 2013-16. Finally, an appendix provides a short summary of the plot of the āntarārttham, “the hidden meaning”, according to the Kūṭiyāṭṭam-tradition. Oberlin describes Mantrāṅkam as a kind of monumental encyclopedia of Kerala culture, civilization, and language. It is the longest play in Kūṭiyāṭṭam; the texts within the texts are constantly moving and growing; it is inclusive and expansive, containing ritual as well as social parts.

This chapter discusses the aesthetics of the BBC’s 1979 production of Frederick Raphael and Kenneth McLeish’s The Serpent Son, an adaptation of Aeschylus’ Oresteia trilogy, which critics at the time associated with science fiction. Certainly, the design of costumes, sets, props and lighting, together with the direction and camerawork, gave this trilogy a non-realist studio-bound visual style familiar to contemporary British television science fiction series, such as Doctor Who, Blake’s Seven and The Tomorrow People. By examining elements of the mise-en-scène, this chapter assesses whether this was a deliberate choice. It argues that, whilst the similarities are there, the aesthetic is as much the result of production methods employed at the time by the BBC, and general non-mimetic approaches to the production of Greek drama on screen, as it is any deliberate attempt to recall the science fiction genre. But the choice of a non-realist aesthetic for Greek tragedy is also a clear statement about the producers’ view of the connection between the modern audience and ancient Greek texts. This is the dominant visual aesthetic of productions of Greek tragedy on British television around this time, many of which employed similar distancing effects.

This chapter examines postconquest native histories of civilization. These histories are nationalistic in the sense that they place the origins of civilization locally and in the distant past and assert or imply that the cultures of other nations are inferior and derivative. Moreover, they make shared ancient culture, rather than kinship, the primary marker of ethnic belonging. In the postconquest periods considered, claims to have originated civilization were bolstered by citing ancient texts attesting to the same. Although this sometimes led to forgeries and frequently to exaggerated claims for the antiquity of a translated text, it also fueled the translation of preconquest histories. Where preconquest texts are available for comparison, the preconquest provenance of the translated material is usually borne out. Thus, the question is usually not whether the postconquest culture myths are authentic but rather why postconquest authors chose particular myths to translate and how they presented them to their multiple audiences to elevate the status of preconquest native civilization.

In order to see how the Greek, Roman, and Arab conquests of the Near East shaped the conqueror's and conquered's understanding of the origins of civilization, this chapter surveys the region's ancient mythologies before the conquests: Mesopotamian, Iranian, Egyptian, Greek, and Hebrew (the surviving Hurrian, Hittite, and Canaanite texts do not treat the subject). In Mesopotamian, Iranian, and Egyptian myths, gods create civilization ex nihilo and gave it to humans, sometimes through special human or semihuman interlocutors. The arts and sciences they create are almost always beneficial, and their point of origin is usually associated with cities, not with peoples. The genres of texts surveyed are also heterogeneous because of the ways that culture myths from the different ancient societies survived.

Abstract Our current understanding of ancient Maya civilization has been greatly enhanced by recent advances in our ability to understand Mayan languages and read Maya hieroglyphic texts, but this understanding has been long in coming and is by no means complete. We are fortunate to live at a time when vigorous and productive decipherment is taking place at an ever-increasing speed. Even so, we may never completely understand all that has been written by the ancient Maya.

This introductory chapter discusses Isaac Newton’s immersion in ancient prophecies, Church history, and alchemy. These investigations raise several questions: what links his interest in such matters to his investigations in optics, mechanics, and mathematics? Was Newton in his alchemical laboratory the same Newton who analyzed the passage of light through a prism and who measured the behavior of bodies falling through fluid media? What did the Newton who interpreted the Book of Revelation have to do with the man who wrote the Principia Mathematica? And how does the Newton who pored over ancient texts square with the author of the Opticks? The Newton that is the subject of this book differs in striking ways from any scientist of the twenty-first century. But he differed as well from his contemporary natural philosophers, theologians, and chronologers. The book investigates the origin of this difference and then uses it to produce a new understanding of Newton’s worldview and its historical context.

During the height of Western imperialism in Egypt from 1882 to 1922, the British ran the country and the French directed the Antiquities Service. Two contemporary artistic allegories expressed Western appropriation of the pharaonic heritage: the façade of Cairo's Egyptian Museum (1902) and Edwin Blashfield's painting Evolution of civilization in the dome of the Library of Congress (1896). The façade presents modern Egyptology as an exclusively European achievement, and Evolution presents ‘Western civilization’ as beginning in ancient Egypt and climaxing in contemporary America. The illustrated cover of an Arabic school magazine (1899) counters with an Egyptian nationalist claim to the pharaonic heritage. A woman shows children the sphinx and pyramids to inspire modern revival, and Khedive Abbas II and Egyptian educators, not European scholars, frame the scene. The careers of three Egyptologists — Gaston Maspero, E. A. W. Budge, and Ahmad Kamal Pasha — are explored to provide context for the allegories.

This chapter discusses writing on Welsh history in the later eighteenth and early nineteenth centuries. It assesses the significance of four main strands in particular. The first is the Romantic reinvention of the Welsh past by Edward Williams (1747–1826), better known by his bardic name Iolo Morganwg, that marked a further development of antiquarian approaches that portrayed the Welsh as heirs to an ancient civilization, transmitted through a native learned tradition termed bardism that Iolo ultimately derived from the Druids, uniquely accessible through texts in Welsh. The second strand is the new genre of historically informed topographical writing, including Thomas Pennant’s Tour in Wales (1778–83) and the first Welsh county histories. The third is The History of Wales (1786) by the Revd William Warrington, an English author who, though conventionally ending his narrative at the Edwardian conquest, broke new ground in the writing of Welsh history in his conception and approach, notably by portraying the history of medieval Wales as a struggle for liberty. Lastly, the chapter appraises another new genre, namely Nonconformist histories, written in both Welsh and English, that emphasized the making of a modern Welsh people defined by its adherence to Puritanism and Dissent.

The article covers ideas of public life in ancient Greek philosophy having given rise to discussion on the necessity of separation and rapprochement of public and private spheres. This study rests upon the analysis of ‘publicness’ and ‘privacy’ in the philosophical conceptions of such authors as J. Habermas who deems ‘publicness’ as communication, and H. Arendt who refers to ‘publicness’ as the polis-based worldview. Plato’s dialogue ‘The State’, which can be deemed as the first-ever example of a utopian text, provides us with the most detailed and consistent instance of criticism of the private sphere, the necessity to merge it into public life to create society. Only in this way could society become a model of an ideal polis leading to the common good. The utopism of Plato’s pattern determines characteristics of the entire utopian genre arising from the idea of the individual merging with the state, and the private sphere merging into the public sphere. Plato’s ideal polis is contrasted with the concepts of the state formed by Modern Age liberal thought, which have largely determined modern views on the division of these spheres, leading to a revision of the utopian projects and a change in the relationship between the private and the public therein. A comparison of various utopian texts results in finding out that the utopian idea of the refusal of the private sphere of life in favour of serving the common good contradicts the modern ideal of freedom, which is the reason for its criticism and for the increasing number of texts with an anti-utopian character.