After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6

Iraq ◽  
2008 ◽  
Vol 70 ◽  
pp. 105-125 ◽  
Author(s):  
J. Novotny ◽  
C. E. Watanabe
Keyword(s):  
British Museum ◽  
The Other ◽  
First Person ◽  
The North ◽  
Right Hand ◽  
The Right ◽  
Upper Register ◽  
The City ◽  
Wheeled Vehicles ◽  
Ground Line

BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.

Urartian Reliefs at Adılcevaz, on Lake Van, and a Rock Relief from the Karasu, near Birecik

1958 ◽  
Vol 8 ◽  
pp. 211-218 ◽  
Author(s):  
C. A. Burney ◽  
G. R. J. Lawson
Keyword(s):  
Primary School ◽  
The Other ◽  
Solid Base ◽  
Lake Van ◽  
North Shore ◽  
The North ◽  
Right Hand ◽  
Relief Sculpture ◽  
The Right

The Medieval Castle at Adılcevaz, on the north shore of Lake Van, incorporated in its walls fragments of a relief sculpture carved in basalt. Six such fragments have now been recovered. Two Urartian inscribed blocks, also of basalt, which have for some years stood outside the primary school, had also, no doubt, been used in the wall of the mediaeval castle.The fragments of sculpture belong to a relief representing a god or king standing on a bull, facing left towards two triple spearheads, placed one above the other. Five of the fragments belong to this figure, but the sixth shows that there was another figure, looking towards the first and likewise facing a triple spearhead. Behind the right-hand figure stands a single triple spearhead, rather taller and more slender than those in the middle, and perhaps fixed on some solid base, only part of which remains. The god or king wears an elaborately decorated garment, probably woven of wool: the pattern, perhaps in gold brocade, is repetitive, with a wide border, edged with a fringe and a band of “herring-bone” pattern.

Kalligeneia and Hieros Arotos

1946 ◽  
Vol 66 ◽  
pp. 8-10 ◽  
Author(s):  
Bernard Ashmole
Keyword(s):  
British Museum ◽  
The Other ◽  
Black Stripe ◽  
Left Hand ◽  
Front End ◽  
Right Hand ◽  
To Come ◽  
The Right ◽  
Horizontal Band

An Attic cup of Siana shape, said to come from excavations in Rhodes, was presented to the British Museum in 1906 by Sir Henry Howorth (Pl. II). The lip is decorated with a wreath—interrupted above the handles—of alternate purple and black ivy-leaves set in two rows, one point-upwards, the other point-downwards, on a central horizontal stem. The reserved band on which the figures and handles are set comes immediately below the lip, save for a narrow black stripe; the rest of the bowl is black, but divided by a horizontal band of tongue-pattern; the tongues, pointing upwards, are alternately black and purple, except in two places where two blacks accidentally come together. Black underlies the purple and the white everywhere, except under the purple tongues, but the white, used only for women's flesh, has almost entirely disappeared. The interior is plain black. The date will be before 560 B.C.Let us look at the two scenes which appear one on each side of the cup: they are roughly drawn, but vigorous and interesting: begin with that which, as I hope to show, comes first in time (Pl IIIa). On the left, a woman is seated to right on a stool: she is dressed in purple; her hair is loose and she holds her left hand to her head in an attitude of grief, with which the gesture of the open right hand well consorts. On the right of the scene, another woman stands to left beside a naming altar (Pl IIIe). Her dress is a black peplos. She wears a broad belt, the upper band of which consists of a repeating Ѕ pattern; her hair is gathered into a small knot on the nape of the neck, and in her hands she holds out by its handles a liknoh, from the front end of which three corn-stalks project. Within are shown other objects; the scale is so small and the drawing so poor that it is not possible to identify them all: some are probably fruits, the central one almost certainly a phallus.

Hector and Andromache on a Red-Figured Vase

1888 ◽  
Vol 9 ◽  
pp. 11-17
Author(s):  
Percy Gardner
Keyword(s):  
British Museum ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The Subject ◽  
The Right

The vase which is the subject of the present paper is no new find. It has been for many years in the British Museum (Cat. No. 810), and was mentioned by Overbeck in his Heroische Bildwerke in 1851. It has not however hitherto been figured, and it may be well to take advantage of its publication in these pages to make a few observations on the general subject of vase-paintings which are connected with the myths of the Iliad.The present vase is an amphora from Vulci, height nineteen inches. The form and decoration are given in the woodcut. On one side is a warrior standing to the left, clad in a chlamys, and armed with helmet, spear, and shield adorned with serpent. On the other side is a lady to the left, clad in Ionian chiton and overdress, her head enveloped in a kerchief; she raises her right hand; in her left hand is a baby boy, who turns and stretches his hands to the right. The main outlines of the figures are traced in black, but the folds of the Ionian chiton with light red; there are three incised circles on the warrior's shield. Under each figure runs a line of maeander pattern; an anthemion adorns the bottoms of both handles.

A utopia do direito à cidade: Possibilidades de superação da dicotomia favela-bairro no Rio de Janeiro

GEOgraphia ◽  
2010 ◽  
Vol 7 (14) ◽  
Author(s):  
Márcio Piñon de Oliveira
Keyword(s):  
Rio De Janeiro ◽  
The Other ◽  
Right To The City ◽  
Other Hand ◽  
The Right ◽  
The City

A utopia do direito à cidade,  no  caso específico do Rio de Janeiro, começa, obrigatoriamente, pela  superação da visão dicotômica favela-cidade. Para isso, é preciso que os moradores da favela possam sentir-se tão cidadãos quanto os que têm moradias fora das favelas. A utopia do direito à cidade tem de levar a favela a própria utopia da cidade. Uma cidade que não se fragmente em oposições asfalto-favela, norte-sul, praia-subúrbio e onde todos tenham direito ao(s) seu(s) centro(s). Oposições que expressam muito mais do que diferenças de  localização e que  se apresentam recheadas de  segregação, estereótipos e  ideologias. Por outro  lado, o direito a cidade, como possibilidade histórica, não pode ser pensado exclusivamente a partir da  favela. Mas as populações  que aí habitam guardam uma contribuição inestimável para  a  construção prática  desse direito. Isso porque,  das  experiências vividas, emergem aprendizados e frutificam esperanças e soluções. Para que a favela seja pólo de um desejo que impulsione a busca do direito a cidade, é necessário que ela  se  pense como  parte da história da própria cidade  e sua transformação  em metrópole.Abstract The right  to the city's  utopy  specifically  in Rio de Janeiro, begins by surpassing  the dichotomy approach between favela and the city. For this purpose, it is necessary, for the favela dwellers, the feeling of citizens as well as those with home outside the favelas. The right to the city's utopy must bring to the favela  the utopy to the city in itself- a non-fragmented city in terms of oppositions like "asphalt"-favela, north-south, beach-suburb and where everybody has right to their center(s). These oppositions express much more the differences of location and present  themselves full of segregation, stereotypes and ideologies. On  the other  hand, the right to  the city, as historical possibility, can not be thought  just from the favela. People that live there have a contribution for a practical construction of this right. 

The First Millennium bc: Temple Enclosure or Urban Citadel?

2004 ◽  
Vol 14 (2) ◽  
pp. 271-276
Author(s):  
Barry Kemp
Keyword(s):  
The Other ◽  
First Person ◽  
The South ◽  
First Millennium ◽  
First Millennium Bc ◽  
The City ◽  
Frequent Reference

The first millennium bc brought warfare to the interior of Egypt on a significant scale. We have two vivid records, one written and the other pictorial. The former is a first-person narrative of the Napatan (Sudanese) king Piankhy who, having gained control of the south of Egypt, embarked in 730 bc on a methodical subjugation of the rest of the country, then under the rule of several local families. During the seemingly irresistible northward progress of his army Piankhy makes frequent reference to walls with battlements and gates which could be countered with siege towers/battering rams and the erection of earthen ramps, although Piankhy himself preferred the tactic of direct storming. Within the circuit of these walls lay treasuries and granaries and, in the case of the city of Hermopolis in Middle Egypt, the palace of the local king Nemlut together with its stables for horses.

scholarly journals Handedness results from complementary hemispheric dominance, not global hemispheric dominance: evidence from mechanically coupled bilateral movements

2018 ◽  
Vol 120 (2) ◽  
pp. 729-740 ◽  
Author(s):  
Elizabeth J. Woytowicz ◽  
Kelly P. Westlake ◽  
Jill Whitall ◽  
Robert L. Sainburg
Keyword(s):  
Motor Control ◽  
Dynamic Control ◽  
The Other ◽  
Hemispheric Dominance ◽  
Control Mechanisms ◽  
Left Hand ◽  
Right Hand ◽  
Other Hand ◽  
Task Component ◽  
The Right

Two contrasting views of handedness can be described as 1) complementary dominance, in which each hemisphere is specialized for different aspects of motor control, and 2) global dominance, in which the hemisphere contralateral to the dominant arm is specialized for all aspects of motor control. The present study sought to determine which motor lateralization hypothesis best predicts motor performance during common bilateral task of stabilizing an object (e.g., bread) with one hand while applying forces to the object (e.g., slicing) using the other hand. We designed an experimental equivalent of this task, performed in a virtual environment with the unseen arms supported by frictionless air-sleds. The hands were connected by a spring, and the task was to maintain the position of one hand while moving the other hand to a target. Thus the reaching hand was required to take account of the spring load to make smooth and accurate trajectories, while the stabilizer hand was required to impede the spring load to keep a constant position. Right-handed subjects performed two task sessions (right-hand reach and left-hand stabilize; left-hand reach and right-hand stabilize) with the order of the sessions counterbalanced between groups. Our results indicate a hand by task-component interaction such that the right hand showed straighter reaching performance whereas the left hand showed more stable holding performance. These findings provide support for the complementary dominance hypothesis and suggest that the specializations of each cerebral hemisphere for impedance and dynamic control mechanisms are expressed during bilateral interactive tasks. NEW & NOTEWORTHY We provide evidence for interlimb differences in bilateral coordination of reaching and stabilizing functions, demonstrating an advantage for the dominant and nondominant arms for distinct features of control. These results provide the first evidence for complementary specializations of each limb-hemisphere system for different aspects of control within the context of a complementary bilateral task.

scholarly journals A utopia do direito à cidade: Possibilidades de superação da dicotomia favela-bairro no Rio de Janeiro

GEOgraphia ◽  
2010 ◽  
Vol 7 (14) ◽  
Author(s):  
Márcio Piñon de Oliveira
Keyword(s):  
Rio De Janeiro ◽  
The Other ◽  
Right To The City ◽  
Other Hand ◽  
The Right ◽  
The City

A utopia do direito à cidade,  no  caso específico do Rio de Janeiro, começa, obrigatoriamente, pela  superação da visão dicotômica favela-cidade. Para isso, é preciso que os moradores da favela possam sentir-se tão cidadãos quanto os que têm moradias fora das favelas. A utopia do direito à cidade tem de levar a favela a própria utopia da cidade. Uma cidade que não se fragmente em oposições asfalto-favela, norte-sul, praia-subúrbio e onde todos tenham direito ao(s) seu(s) centro(s). Oposições que expressam muito mais do que diferenças de  localização e que  se apresentam recheadas de  segregação, estereótipos e  ideologias. Por outro  lado, o direito a cidade, como possibilidade histórica, não pode ser pensado exclusivamente a partir da  favela. Mas as populações  que aí habitam guardam uma contribuição inestimável para  a  construção prática  desse direito. Isso porque,  das  experiências vividas, emergem aprendizados e frutificam esperanças e soluções. Para que a favela seja pólo de um desejo que impulsione a busca do direito a cidade, é necessário que ela  se  pense como  parte da história da própria cidade  e sua transformação  em metrópole.Abstract The right  to the city's  utopy  specifically  in Rio de Janeiro, begins by surpassing  the dichotomy approach between favela and the city. For this purpose, it is necessary, for the favela dwellers, the feeling of citizens as well as those with home outside the favelas. The right to the city's utopy must bring to the favela  the utopy to the city in itself- a non-fragmented city in terms of oppositions like "asphalt"-favela, north-south, beach-suburb and where everybody has right to their center(s). These oppositions express much more the differences of location and present  themselves full of segregation, stereotypes and ideologies. On  the other  hand, the right to  the city, as historical possibility, can not be thought  just from the favela. People that live there have a contribution for a practical construction of this right. 

scholarly journals Observations upon the marine barometer, made during the examina­tion of the coasts of New Holland and New Wales, in the Years 1801, 1802, and 1803. By Matthew Flinders, Esq. Com­mander of His Majesty’s Ship Investigator . In a letter to the Right Hon. Sir Joseph Banks, K. B. P. R. S. &c. &c. &c

1832 ◽  
Vol 1 ◽  
pp. 230-232
Keyword(s):  
The State ◽  
The Other ◽  
South Coast ◽  
The South ◽  
South Side ◽  
The North ◽  
North Side ◽  
Northern Half ◽  
Southern Half ◽  
The Right

The chief circumstance that induced Capt. Flinders to think his observations Upon the marine barometer were worthy of attention, was the coincidence that took place between the rising and falling of the mercury, and the setting in of winds that blew from the sea and from off the land, to which there seemed to be at least as much reference as to the strength of the wind or the state of the atmosphere. Our author’s examination of the coasts of New Holland and the other parts of the Terra Australis, began at Cape Leuwen, and con­tinued eastward along the south coast. His observations, which, on account of their length, we must pass over, show, that a change of wind from the northern half of the compass to any point in the southern half, caused the mercury to rise; and that a contrary change caused it to fall. Also, that the mercury stood considerably higher When the wind came from the south side of east and west, than when, in similar weather, it came from the north side.

Rediscovering Leon Theremin

Tempo ◽  
1991 ◽  
pp. 18-23 ◽  
Author(s):  
Stephen Montague
Keyword(s):  
Electromagnetic Field ◽  
The Other ◽  
Electronic Instrument ◽  
Left Hand ◽  
Vertical Antenna ◽  
Right Hand ◽  
Concert Halls ◽  
The Right

In the early 1920s and 30s a strange electronic instrument found its way from Russia into some of the more fashionable ballrooms, night clubs, and concert halls in Europe and America. This exotic new invention, called the ‘theremin’ or ‘thereminvox’, caused a considerable stir. Part of the interest was its unusual sound (like a musical saw mated with a light soprano), but its most dramatic feature was that the performer never actually touched the instrument. He or she simply waved graceful hands near the two antennae (one set vertically, the other looped horizontally) to coax out seamless, melifluous melodies. The proximity of the right hand to the vertical antenna changed the ultrasonic electromagnetic field, thus changing the pitch over about a six-octave range. The left hand (or sometimes a foot pedal) controlled the volume. By gently shaking the right hand at the antenna a vibrato could be achieved, giving performances a little more musical (not to mention choreographic) interest. Fashionable women dressed in long gowns seemed to be favourite photographic subjects of the period as performers, as well as the inventor himself, poised ‘playing the rods’ in full dress tails, arms outstretched like a great conductor–or perhaps sorcerer.

Turns on the Move

2019 ◽  
pp. 73-76
Author(s):  
K. B. E. E. Eimeleus
Keyword(s):  
The Other ◽  
Left Shoulder ◽  
Sudden Stop ◽  
Flat Terrain ◽  
Right Hand ◽  
The World ◽  
The Right

This chapter looks at turns on the move with the right or left shoulder aligned with the corresponding ski. It distinguishes three important techniques that have gained currency in the world of sport. One of them pertains only to running skis while the other two require mountain skis with stable bindings. The first is the method for turning in place, used while descending from a mountain or over flat terrain on running skis, or on any skis that lack a stable binding and have a posterior center of balance. The next is the Christiania turn, which is carried out on the inner ski, that is, on the right ski when the turn is done to the right-hand side. Finally, the Telemark turn allows a skier to make a sudden stop as they are descending.

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