9 Matching Annotations
  1. Mar 2023
    1. Textmaterials war zunächst ein technisches Problem. Angelehnt an die Praxis des Thesaurus Linguae Latinae wurde ein ausgeklügeltes Verzettelungssystem entworfen. Die gesammelten Texte wurden dazu in Passagen von jeweils etwa 30 Wörtern Länge unterteilt und in hieroglyphischer Form auf Zettel im Postkartenformat geschrieben. Die Bezeichnung des verzettelten Texts und der aktuellen Textpassage wurden in der Kopfzeile notiert. Wo erforderlich, sind auch Notizen zum szenischen Kontext einer Inschrift beigefügt, und meistens wurde der Versuch gemacht, eine Übersetzung der Textpassage zu geben. Gerade die Lückenhaftigkeit dieser Übersetzungen zeigt deutlich, wie unsicher man sich damals noch an vielen Stellen sein mußte. Die gesamte primäre Textaufnahme hatte bis zu einem gewissen Grade vorläufigen Charakter und war nicht als abschließende Analyse der Textstelle, sondern als Ausgangspunkt eines vertiefenden, vergleichenden Studiums gedacht. Dass heute viele der damals problematischen Passagen keine Schwierigkeiten mehr machen, ist zuallererst ein Verdienst des Wörterbuches und belegt, wie dieses das philologische Textverständnis auf ein neues Niveau gehoben hat.

      The structure of the filing system for the Wörterbuch der ägyptischen Sprache was designed based on the work done for the Thesaurus Linguae Latinae started in 1894. Texts in the collection were roughly divided into passages of about 30 words and written in hieroglyphic form on postcard-sized slips of paper. The heading contained the designation of the text and the body included the texts' context (inscriptions, etc.) as well as a preliminary translation of the passage.

      These passages were then cross-referenced with other occurrences of the hieroglyphics to provide better progressive translations which ultimately appeared in the final manuscript. As a result some of the translations on the cards were incomplete as work proceeded and cross-comparisons of individual words were puzzled out.

      A slip showing a passage of text from the victory stele of Sesostris III at the Nubian fortress of Semna. The handwriting is that of project leader Adolf Erman, who had "already struggled with the text as a high school student".

    2. Jean François Champollion's "Lettre à M. Dacier ... relative à l'alphabet des hiéroglyphes ..." (1822) is therefore rightly celebrated as the "birth certificate" of Egyptology, in which the decisive breakthrough in the decipherment of hieroglyphic writing was achieved.
  2. Dec 2022
    1. The study of Egypt “before the pharaohs” was pioneered in the late 19th and early 20th centuries by a British archaeologist called William Matthew Flinders Petrie, familiar to generations of students as “the father of archaeological science.”
  3. Oct 2020
    1. The prevalent practice of damaging images of the human form—and the anxiety surrounding the desecration—dates to the beginnings of Egyptian history. Intentionally damaged mummies from the prehistoric period, for example, speak to a “very basic cultural belief that damaging the image damages the person represented,” Bleiberg said. Likewise, how-to hieroglyphics provided instructions for warriors about to enter battle: Make a wax effigy of the enemy, then destroy it. Series of texts describe the anxiety of your own image becoming damaged, and pharaohs regularly issued decrees with terrible punishments for anyone who would dare threaten their likeness.
  4. Mar 2019
    1. “Ancient temples were somewhat seen as quarries,” Bleiberg said, noting that “when you walk around medieval Cairo, you can see a much more ancient Egyptian object built into a wall.” Such a practice seems especially outrageous to modern viewers, considering our appreciation of Egyptian artifacts as masterful works of fine art, but Bleiberg is quick to point out that “ancient Egyptians didn’t have a word for ‘art.’ They would have referred to these objects as ‘equipment.’” When we talk about these artifacts as works of art, he said, we de-contextualize them.
    2. “The damaged part of the body is no longer able to do its job,” Bleiberg explained. Without a nose, the statue-spirit ceases to breathe, so that the vandal is effectively “killing” it. To hammer the ears off a statue of a god would make it unable to hear a prayer. In statues intended to show human beings making offerings to gods, the left arm—most commonly used to make offerings—is cut off so the statue’s function can’t be performed (the right hand is often found axed in statues receiving offerings).

      fascinating

    3. A protruding nose on a three-dimensional statue is easily broken, he conceded, but the plot thickens when flat reliefs also sport smashed noses.
    4. This stylistic continuity reflects—and directly contributed to—the empire’s long stretches of stability.

      I'm curious what evidence there is that it "directly contributed to" stability.