Factoids of Assyrian presence in Anatolia: towards a historiography of archaeological interpretation at Kültepe-Kaneš

2021 ◽  
pp. 1-22
Author(s):  
Yağmur Heffron
Keyword(s):  
Bronze Age ◽  
20Th Century ◽  
18Th Century ◽  
Critical Evaluation ◽  
Subsequent Development ◽  
Archaeological Record ◽  
Archaeological Interpretation ◽  
Late 18Th Century ◽  
Key Sites ◽  
Material Record

Abstract This article offers a historiographical examination of how 20th-century ideas of assimilation and cultural purity have shaped our understanding of Bronze Age Anatolia, focusing on the canonical narrative of Assyrian presence at the site of Kültepe-Kaneš. According to this narrative, Old Assyrian merchants who lived and conducted business at Kaneš from the early 20th to the late 18th century BC left no trace in the archaeological record except for cuneiform tablets and cylinder seals, assimilating to local culture to such a degree that Kültepe’s archaeological record is entirely of Anatolian character. The accuracy of this view has met increasing circumspection in recent years. What remains to be articulated is why it remained unchallenged for so long, from its initial formulation in 1948 until the late 2000s, during which time it was widely repeated and reiterated. It is proposed here that the persistence and longevity of what is essentially a misconstrued notion of foreign (in)visibility in Kültepe’s material record can be explained by treating it as a ‘factoid’. The article first historicises the factoid’s formulation and subsequent development. This is followed by a critical evaluation of the evidentiary bases of the factoid to show how disciplinary tendencies to privilege certain categories of evidence over others have created artificial gaps in the data. Ultimately, the article seeks to highlight the epistemological implications of how one of the key sites of Bronze Age Anatolia came to represent a perceived rather than an observed case of indigenous cultural purity.

scholarly journals MARKERS OF INFLECTIONAL GRAMMATICAL MEANINGS IN THE KOMI-PERMYAK LANGUAGE OF THE LATE 18TH CENTURY (BASED ON THE MATERIAL OF ARCHPRIEST ANTONY POPOV’S HANDWRITTEN DICTIONARIES)

2021 ◽  
pp. 34-46
Author(s):  
Алевтина Степановна Лобанова ◽  
Роман Валентинович Гайдамашко
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Past Tense ◽  
Future Tense ◽  
Dictionary Entry ◽  
Late 18Th Century ◽  
Wide Range ◽  
Case Markers ◽  
Historical Grammar ◽  
Spatial Semantics

В статье представлен фрагмент лингвистического анализа памятников ранней коми-пермяцкой письменности — рукописей протоиерея Антония Попова (1748–1788), которые датированы 1785 годом и на данный момент известны как первые фундаментальные труды по пермяцкому языкознанию — опыт грамматики и два словаря — алфавитный и тематический. Эти рукописи до сих пор не изданы и исследованы в недостаточной степени. Цель настоящего исследования — выявить и проанализировать показатели словоизменительных грамматических значений в коми-пермяцком языке конца XVIII века на материале словарей А. Попова. В сопоставительном и ареальном аспектах рассматриваются показатели коми-пермяцких словоизменительных грамматических значений следующих категорий: а) число имен, б) падеж, в) лично-притяжательность, г) время. В большинстве своем они идентичны современным грамматическим формам и грамматическим значениям, однако есть и любопытные особенности. Суффикс множественного числа имени существительного представлен в рукописях А. Попова более архаичным вариантом [jɛs] (при современном [ɛz]), который еще во второй половине XX в. фиксировался в различных говорах коми языкового континуума, преимущественно периферийных. В рукописях зафиксирован широкий спектр падежных показателей: вместе с номинативом представлены еще десять падежных форм (из них семь — местные падежи, реализующие пространственную семантику, так называемые внутриместные и внешнеместные падежи). Слово-изменительные показатели со свойственными им значениями «спрятаны» в составе наречий, серийных послелогов и отчасти числительных, а показатель лишительного падежа оформлен отдельной словарной статьей как предлог. Обращает на себя внимание грамматический показатель переходного падежа -ты — в современном коми-пермяцком языке семантика данного падежа реализуется формой -öт. Показатели представленной в работах категории лично-притяжательности сходны с современными семантическими и грамматическими показателями. Данная словоизменительная категория реализуется суффиксами -мъ (возм. -е), -тъ, -съ, -нымъ, -нытъ, -нысъ (при современных -ö ‘мой’, -ыт ‘твой’, -ыс ‘его’, -ным ‘наш’, -ныт ‘ваш’, -ныс ‘их’). Словоизменительные формы глаголов, зафиксированные в рукописях А. Попова, демонстрируют настоящее, будущее, прошедшее очевидное и прошедшее неочевидное времена; показан фрагмент будущего сложного времени. Не удалось обнаружить хотя бы элементы аналитического прошедшего времени. Показатели всех обозначенных времен тождественны соответствующим показателям в современном коми-пермяцком языке. Настоящая статья является не только вкладом в изучение финно-угорского рукописного наследия, но и скромным шагом на пути к разработке исторической грамматики коми-пермяцкого языка. The article presents a fragment of linguistic analysis of monuments of early Komi-Permyak writing — the manuscripts of Archpriest Antony Popov (1748–1788), which are dated 1785 and are currently known as the first fundamental works on Permyak linguistics — grammar sketch and two dictionaries — alphabetical and thematic. These manuscripts have not yet been published and have not been sufficiently studied. The aim of current study is to identify and analyze markers of inflectional grammatical meanings in the Komi-Permyak language of the late 18th century based on the material of the A. Popov’s dictionaries. Markers of Komi-Permyak inflectional grammatical meanings of the following categories are considered in comparative and areal aspects: a) number of nouns and adjectives, b) case, c) personal possessiveness, d) tense. Most of them are identical to modern grammatical forms and grammatical meanings, but there are also interesting features. The plural suffix of the noun is represented in the A. Popov’s manuscripts by a more archaic variant [jɛs] (cf modern [ɛz]). It was recording still in the second half of the 20th century in various dialects of the Komi language continuum, mainly peripheral. The manuscripts contain a wide range of case markers: along with the nominative, there are ten more case forms (seven of them are local cases that implement spatial semantics, the so-called internal and external cases). Inflectional markers with their own meanings are “hidden” within adverbs, serial postpositions and partly numerals. The marker of abessive case is designed as a separate dictionary entry as a preposition. Attention is drawn to the grammatical marker of the prolative case -ты [tɨ] — in the modern Komi-Permyak language, the semantics of this case is realized by the form -öт [ɘt]. Markers of the category of personal possessiveness presented in the manuscripts are similar to modern semantic and grammatical markers. This inflectional category is implemented by the suffixes -мъ [m ] (-е [e]), -тъ [t ], -съ [s ], -нымъ [nɨm ], -нытъ [nɨt ], -нысъ [nɨs ] (cf modern -ö [ɘ] ‘my’, -ыт [ɨt] ‘your (SG)’, -ыс [ɨs] ‘his’, -ным [nɨm] ‘our’, -ныт [nɨt] ‘your (PL)’, -ныс [nɨs] ‘their’). Inflectional forms of verbs recorded in A. Popov’s dictionaries demonstrate present, future, past I and past II tenses. A fragment of compound future tense is shown. It was not possible to detect at least elements of the analytical past tense (perfect). The markers of all these tenses are identical to the corresponding markers in the modern Komi-Permyak language. This article is not only a contribution to the study of the Finno-Ugric manuscript heritage, but also a modest step towards the development of a historical grammar of the Komi-Permyak language.

Jan van Eyck

2013 ◽  
Author(s):  
Alfred Acres
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Early Years ◽  
Early Model ◽  
Manuscript Illumination ◽  
The Novel ◽  
20Th Century Literature ◽  
Oil Painting ◽  
Late 18Th Century ◽  
20Th Century Art

Jan van Eyck (b. c. 1390–d. 1441), whose fame was international during his own lifetime and has never faded in the centuries since, was one of the most inventive and influential painters of all time. Born probably in the 1390s in or near Maaseik, his early years and training remain obscure. His career first comes into partial focus in the early 1420s, when he is recorded working in The Hague for John of Bavaria, Count of Holland. In 1425 he was employed by Philip the Good, Duke of Burgundy (r. 1419–1467), one of the most powerful princes in Europe. Based mainly in Bruges, he served Philip and other prestigious patrons for rest of his life. The great esteem in which he was held by the duke and others, along with Jan’s unprecedented assertion of himself among inscriptions and images, made him an early model of the prized court artist, a role that would soon become more familiar in the Renaissance and after. Of the approximately two dozen paintings most confidently attributed to him, the earliest dated work is also the largest and most complex: the Ghent Altarpiece, completed 1432. Its inscription indicates that the project was begun by his brother Hubert (d. 1426), from whom no other surviving works have been confidently identified. The remaining paintings attributed to Jan van Eyck are altarpieces, smaller devotional pieces, and portraits. Lost works mentioned in early sources or echoed in variant paintings and drawings included more of the same, along with at least one genre-like image, of a woman at her bath. It has long been speculated that Jan’s early work may have included manuscript illumination, with the paintings of the Turin-Milan Hours at the center of this scholarship. In his 1550 Lives of the Artists, Vasari credited Jan van Eyck with the invention of oil painting, a claim widely repeated until it was disproven in the late 18th century. But fascination with the brilliant effects of van Eyck’s technique—and especially the novel depths of his realism—has never waned. Much of the 20th-century literature has probed symbolic and related dimensions of meaning in his realism. This interpretive scholarship on van Eyck and his Flemish contemporaries (chiefly Robert Campin and Rogier van der Weyden), associated especially with Panofsky’s conceptions of iconography, iconology, and “disguised symbolism,” became widely influential in 20th-century art history.

scholarly journals Considerations about foxing stains in three paper collections ranging from the 16th to the 20th century

2020 ◽  
Author(s):  
Francisca Figueira ◽  
Marta Matos ◽  
Aida Nunes ◽  
Mariana Afonso ◽  
Ana Clara Rocha ◽  
...  
Keyword(s):  
Synergistic Effect ◽  
20Th Century ◽  
Historical Data ◽  
18Th Century ◽  
Light Sources ◽  
Late 18Th Century ◽  
Different Types ◽  
Time Periods ◽  
Paper Conservation

Three surveys on the occurrence of foxing stains were carried out on papers dating from 1560 to 1975 in three Portuguese collections. Foxed papers were found to be more intensely and intrusively stained in certain time periods of each collection. Based on historical data and on the professional paper conservation experience, the authors linked the increased occurrence of foxing stains in certain time periods to the new papermaking processes and materials, which began to be introduced in the late 18th century, and in particular to a synergistic effect between three factors: the use of deficient gelatine sizing which began to present a poorer quality and homogeneity, the presence of iron-containing impurities throughout the paper leaf and a distinct sorbency of moisture. Observing batches of morphologically similar papers by using photographic imaging with different types of light sources and incidences, the authors verified that similar papers present similar foxing stains.

scholarly journals Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

Ars Adriatica ◽  
2016 ◽  
pp. 185
Author(s):  
Petar Puhmajer ◽  
Krasanka Majer Jurišić
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Apartment Building ◽  
Wrought Iron ◽  
Late 18Th Century ◽  
Archival Documentation ◽  
The 19Th Century ◽  
Storey Building ◽  
Made In

This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

scholarly journals Metacritique on Bentham and Foucault’s Panoptic Theories as Analytic Tools for Three Modes of Digital Surveillance

Plaridel ◽  
2021 ◽  
Author(s):  
Feorillo A. Demeterio III, ◽  
June Benedict Parreno
Keyword(s):  
Social Media ◽  
20Th Century ◽  
18Th Century ◽  
Data Gathering ◽  
Digital Age ◽  
Late 20Th Century ◽  
Digital Surveillance ◽  
Late 18Th Century

The panopticon was originally a prison design made by Bentham in the late 18th century to efficiently reform offenders. Foucault appropriated Bentham’s panopticon in the late 20th century to conceptualize and critique the society and state’s coercive practices in making individuals conform to social and state norms. Although Foucault’s appropriation of Bentham’s panopticon was done prior to the full emergence of the digital age, a number of present day scholars use the panopticon in conceptualizing and critiquing digital surveillance. This paper problematizes the applicability of both Bentham and Foucault’s panoptic theories to such contemporary phenomenon. This paper dissected both panoptic theories into five components—subjects; observers; data gathering, storage, and analysis; goals and effects of the systems; and management of the systems—and compared and contrasted these to their corresponding components from three cases of digital surveillance representing state digital surveillance, social media digital surveillance, and e-commerce digital surveillance. This paper established that Bentham and Foucault’s panoptic theories have moderate resemblance to each other; that both Bentham and Foucault’s panoptic theories are applicable to the conceptualization and critique of state digital surveillance; and that both Bentham and Foucault’s panoptic theories are not applicable to the conceptualization and critique of social media and e-commerce digital surveillances. As a metacritique this paper is significant in the sense that its findings will hopefully enlighten other scholars about the actual levels of usefulness of both panoptic theories in conceptualizing and critiquing different modes of digital surveillance.

1. Introducing criminology

2018 ◽  
pp. 1-4
Author(s):  
Tim Newburn
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Small Groups ◽  
18Th Century ◽  
The Body ◽  
Social Phenomenon ◽  
Body Of Knowledge ◽  
Late 18Th Century ◽  
Court Proceedings ◽  
The 19Th Century

‘Introducing criminology’ explains that according to American criminologist, Edwin Sutherland, criminology is the body of knowledge regarding crime as a social phenomenon including within its scope the process of making and breaking laws, and reacting to the breaking of laws. Criminology dates back to the late 18th century when small groups of people developed an interest in explaining crime alongside their main occupations such as running asylums or collecting statistics on prisons or court proceedings. There was no form of collective enterprise until the end of the 19th century. During the 20th century, ‘criminology’ gradually formed and solidified. Its constitutive disciplines include sociology, history, psychology, law, and statistics.

European White Glass Trade Beads as Chronological and Trade Markers

1996 ◽  
Vol 462 ◽  
Author(s):  
R.G.V. Hancock ◽  
S. Aufreiter ◽  
I. Kenyon
Keyword(s):  
Chemical Analysis ◽  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Glass Beads ◽  
Aboriginal Peoples ◽  
Archaeological Sites ◽  
Late 18Th Century ◽  
Over Time

ABSTRACTEuropean explorers and traders, on their arrival in North America, found the aboriginal peoples willing to exchange furs and other goods for European-made metal objects and glass beads, the remains of which may be found at archaeological sites. Specific trade goods, including multi-coloured or curiously shaped glass beads that are visually distinctive, are used as chronological markers by archaeologists. Most of the single coloured, mainly blue or opaque white beads are very common and cannot be visually, chronologically differentiated. Non-destructive analysis (INAA) of turquoise blue or white beads from known-age archaeological sites in Ontario has revealed chemical changes in glass manufacturing compositions over time. This allows these otherwise nondescript, single coloured beads to be used as chronological and trade markers. Although the turquoise beads were always coloured by Cu, the white beads employed different opacifiers over time. First came Sn-rich beads (early to late 17th century); then Sb-rich beads (late 17th century to mid-19th century); finally As-rich beads (very late 18th century to early 20th century) and even F-whitened beads (19th century to 20th century). Within each major group, it appears that changes in glass making recipes may be found using the Na, K, Ca, Al and Cl contents. Therefore, chemical analysis of white glass trade beads may be as profitable as chemical analysis of turquoise blue trade beads in establishing chemical chronologies.

scholarly journals Особенности иконографии в калмыцкой вышивке: традиционные и современные практики

2021 ◽  
Vol 14 (2) ◽  
pp. 314-336
Author(s):  
Tatyana I. Sharaeva ◽  
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Spiritual Guidance ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Historical Factors ◽  
Late 18Th Century ◽  
Religious Cult ◽  
Private And Public

Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

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