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Although Gilles Deleuze never explicitly developed what might be considered a 'philosophy of technology', this article nonetheless attempts to outline the rudiments of a Deleuzian approach to technology by proposing a series of interrelated concepts: (1) prosthesis (technological artefacts are externalised organs); (2) proto-technicity, or originary technicity (but this technicity already exists in Nature, all the way down, and precedes any 'theory'); (3) exodarwinism (the fact that evolutionary time has bifurcated, and technology evolves in a faster and accelerating time scale); (4) de-specialisation or de-differentiation (what conditions the externalisation of organs is their deterritorialisation); (5) motricity (the link between the brain and the hand/mouth is primarily one of movement); (6) inscription, or graphism (the link between mouth and hand takes place through phonetic writing, when the hand reproduces speech in graphic inscriptions); (7) maker's knowledge (we know the organisations of matter found in nature through the organisations of matter that we ourselves have created); and finally, (8) totipotence (like a stem cell, the body is capable of externalising an almost unlimited number of forms and functions; it is itself an abstract and the source of abstractions). [ABSTRACT FROM AUTHOR]

In 1747 John Creed's proposal for a "Machine that shall write Extempore Voluntaries" was presented to the Royal Society. A transcriptive device with rotating cylinders and steel pencils, the "fantasy machine," as it has since come to be called, sought to inscribe and store the effusions of keyboard improvisations in real time. Musicological accounts of this machine have typically focused on its ostensible objective (almost always judged to have missed its mark) to record the fleeting improvisations of musical genius, undistorted by memory or later composerly reflection. But at the heart of Creed's quest to delineate what he called the "minutest Particles of Sound" were rather the "intelligible Characters" that appeared via a mechanized process of inscription. This article argues that Creed's preoccupation with character and line makes visible a version of knowing through and about music—about how sound could be conceived, captured, and communicated—that shaped perhaps the foundational concept in discourse about music for the next two hundred years: style. In the eighteenth century, style and stilus—manner and tool, expression and technology—were inextricable. The mechanical experiments of Creed and his contemporaries, the music of C. P. E. Bach, and the widely read theories of William Hogarth chart an understanding of inscriptive-semiotic matter that was premised on the intertwined workings of body and tool. This mid-eighteenth-century moment, I argue, reveals a foundational stylistic materialism in which style was not yet in the service of the biocultural taxonomies of nineteenth-century modernity, but indexed instead a more ambiguous and generative convergence of the syntactical, typographical, and corporeal—a complex nexus of tools, instruments, bodies, and techniques. [ABSTRACT FROM AUTHOR]

Abstract Through four case studies I discuss the importance and frequency of the appearance of weapons (an important element of epic imagery) in funerary poetry, and its relation to representations of arms on gravestones and monuments in the Hellenistic period, geographically ranging from Lycia and Caria to the Black Sea, from mainland Greece to the Aegean islands. One of the most common features of poetic epitaphs for soldiers (including citizens, mercenaries, and soldiers belonging to royal armies) is the celebration of the military valor (arete) of the deceased; on the other hand, except for the spear, weapons are not mentioned often in funerary poetry. When they are not mentioned in the epitaph, or when an epitaph is not present, weapons are sometimes represented on the funerary monument itself, in the form of reliefs or paintings, either in the context of a battle scene, or carried by the standing deceased, or simply as isolated objects, as symbols of his profession or social rank in life.

The sima inscription is an edict issued by the king as a gift given to certain parties. One of the reasons for its bestowment is as a reward to those who have shown him loyalty. This paper studies the forms of loyalty shown by the Ancient Javanese People to the king and the factors that influenced it. The study aims to give an understanding of the relationship that existed between the Ancient Javanese people and the king in the XIII–XV Centuries AD. The results of this research provides new insight for the effort to reconstruct the life of the Ancient Javanese people. The method used in this study consists of data collection, data analysis, and interpretation. Based on this series of studies, it can be determined that there are multiple forms of loyalties shown by the Ancient Javanese people to the king and multiple factors that influenced its formation.

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Copyright of CEDRUS is the property of Mediterranean Civilisations Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ISTEM is the property of ISTEM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iranian Studies / Pizhūhish/hā-yi Īrānshināsī is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Credible journalism is a vital component of a successful democracy, but enrollment in journalism programs has been declining for years. We surveyed 288 students in 24 different majors from 14 California State University campuses to predict the likelihood of them pursuing a career in journalism. Using regression analysis, for journalism students, social justice concerns were the best predictor, for other majors, perceptions regarding fairness and accuracy of the media were the best predictors. Educators focusing on the contribution journalism makes to social justice and mitigating skepticism about the media are recommended to increase recruitment and retention of journalism majors. [ABSTRACT FROM AUTHOR]

Licchavi kingdom was an ancient kingdom in Nepal, which existed in the Kathmandu Valley from approximately from ca. CE 300 to ca. 879. Centuries earlier at the start of the Buddhist era, a powerful republic known as Licchavi existed in what is today Bihar. It is to be mentioned here, some legendary sources from the Kathmandu Valley also describe the Kirātas as early rulers there, taken over from earlier Gopāls or Ᾱbhiras, both of whom may have been cow herding tribes. The food habit of ancient inhabitants of Nepal was very simple. Paddy was the most important food grain. Different kinds of fishes were available at that time. Pāniya-goṣṭhikās, Pranālī - goṣṭhikās were formed to supply water for various purposes. The preservation custom seems to be practiced from very ancient time. The oil press (Tailaśālā), copper smithies (Tāmrakuṭaśālā), Pharmaceutical laboratories (Ārogyśālā) and indigo processing workshops (Nīlīśālā) were given lands. Mallayuddha-goṣṭhikās, Vāditra - goṣṭhikās existed and functioned in festivities. Varāhayātrā, Kāraṇapujā were also used to organise at that time. [ABSTRACT FROM AUTHOR]

The convention concerning the protection of the world cultural and natural heritage, or the World Heritage Convention (1972), is now considered the most remarkable international tool to protect and identify the shared heritage of humans. Inscription of a site on the World Heritage List is a function of regulations that are specified by the 1972 World Heritage Convention and its operational guidelines. According to the convention, the member states selected sites within their geographical expanse as nominees to enter the world heritage list according to the regulations of the convention. In the years that followed the formation of the convention, the increasing influence of politics made many countries see the world heritage list as a tool to achieve their political, economic, and cultural goals. Thus, the selection of the sites is now a function of multiple factors that make the process of inscription complicated and, in some cases, costly. The present study aimed to answer the following question: "What factors influence the selection of site processes for inscriptions on the world heritage list?" The goal was to identify the explicit and implicit factors so that more successful and cost-effective decisions could be taken from a domestic policy perspective. As a result, the influential components were identified and explained by a descriptive-analytical investigation of the texts related to the convents and a select group of 10 countries with distinguished performance in the process using content analysis, and their relationships were interpreted. Investigations showed that the factors that influenced the process were placed in three layers: the central layer was the requirements of the convention, the middle layer was the constraints of inscription, and the prioritized themes, and the external layer was the factors that influenced the method of selection adopted by countries that included items ranging from their governmental structure to their macroscale policies in the international arena (among others). [ABSTRACT FROM AUTHOR]

Copyright of Magazine General Union of Arab Archaeologists is the property of General Union of Arab Archaeologists and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jacqueline Rose's influential notion of the "impossibility" of children's literature rests on the claim that such works "frame" the child and place the adult "first". Although Ransome's writings undoubtedly contain instances of such divisions and hierarchies, this article argues that they also explore various kinds of communication and connection. In particular, the Lakeland novels which are the focus here—Swallows and Amazons (1930/2012), Swallowdale (1931/1968), Winter Holiday (1933/2013), Pigeon Post (1936/2013) and The Picts and the Martyrs (1943/1993)—make frequent mention of literary works but also display an intense interest in messages which are written on paper but also cut into surfaces such as wood and stone. These inscriptions challenge generational hierarchies in that they establish a means for different individuals to communicate the experience of being in the same place, albeit at different times. Yet as well as conveying the excitements of discovery and exploring the consolations which can follow recognitions of belatedness, this article also argues that Ransome's Lakeland novels acknowledge and seek to manage the losses experienced by each generation. [ABSTRACT FROM AUTHOR]

One of the important areas where the development of Islamic calligraphy can be observed is the tombstone inscriptions. As a reflection of the evolution of calligraphy in the 18th and 19th centuries of the Ottoman Empire, tombstone inscriptions also began to contain high artistic value. Especially the epitaphs of the tombstones belonging to the noble families, state officials and the people of the palace, combined with the fine workmanship, became works of art. These examples are important records for art history as they mostly contain signatures and dates. Gravestones, which are important in many aspects, especially art, literature and history, are mostly open to the public and therefore to destruction. This situation makes it necessary and meaningful to evaluate historical gravestones in a multi-faceted way and to reveal their value. Therefore, serious research on gravestones is extremely valuable. This article is about the gravestones signed by calligraphers of the cemetery belonging to the Yahya Efendi Complex in Istanbul-Beşiktaş. The study includes the analysis of the data collected before the 2009-2013 restoration, considering the current situation of the cemetery. The cemetery is home to tombstones with high artistic value due to the importance of the buried people. There are over two thousand tombstones in the cemetery, which has an important place within the social complex. Some of these stones attract attention with their decorations and stone workmanship, as well as their inscriptions, which are rare examples of calligraphy art. Among these inscriptions, seventy-nine samples signed by calligraphers were found and these samples were examined within the scope of the article. It is possible to see the prominent artists of the last period among the calligraphers whose works are found in the cemetery. Yahya Efendi Cemetery is home to the signed epitaphs of twenty-seven different calligraphers, mainly Aziz Efendi, Sâmi Efendi, Şefik Efendi, Şevki Efendi, Hulusi Efendi, İzzet Efendi, Nuri Korman, Arif Efendi and Halim Özyazıcı. [ABSTRACT FROM AUTHOR]

The mausoleum of Davazdah Imams of Yazd is a thousand-year-old building with a valuable inscription in decorative Kufic script under the dome, which is very important in terms of visual richness and worthy of study. Gestalt is one of the theories of the visual perception process in psychology, and the principles of this theory can be useful in the recognition of works of art. The most important principles of Gestalt are the principle of similarity, symmetry, proximity, closure, Integration, continuance, Figure & ground relationship, Inclusiveness and common fate that in the current research, five principles of these rules have been tried to be used for visual analysis and evaluation of the perceptual quality of this inscription. In this way, the amount of use of these principles in its design will be determined and the quality of the resulting pragnanz and the most effective factors in its creation should be revealed. This research seeks to answer the question that to what extent and how the principles of similarity, proximity, symmetry, closure and Inclusiveness were used in the design of the inscription of the tomb of the Davazdah Imams, and what is the degree of resulting pragnanz from the use of each of these principles? This research was carried out in a descriptive-analytical way and the data were collected through library studies and field surveys. The results showed that the principles of similarity and Inclusiveness were used to a large extent, the principle of proximity and closure to a relatively large extent, and the principle of symmetry to an average extent were used in this inscription. The result of the application of these principles is the realization of pragnanz to a large extent, and as a result, the better organization of the components, the easier reception of the work and the active communication of the audience with this inscription. [ABSTRACT FROM AUTHOR]

This is an analytical study of a new Sabaic inscription probably coming from the town of Naššān in Wādī al‐Jawf in northern Yemen. The text of this inscription, which is of a construction/dedicatory and a legal nature at the same time, bans the violation of the properties of Yaqdumʾil son of Ṯawrān, by the people of Ḫawlān and their vassals who had attacked that man's properties by cutting his trees and scattering his crops. The inscription is dated by the name of the Sabaean king Yadaʿʾil Bayyin son of Yaṯaʿʾamar, who reigned about the end of the fifth and the beginning of the fourth century BC. What distinguishes the inscription is that it contains new historical and linguistic material. Along with other Sabaic inscriptions found in the region, the text refers to the extent of settlement of Sabaean families from Mārib, Ṣirwāḥ, and Ḫawlān in the cities of al‐Jawf, specifically in Naššān and Našq, to control the roads of incense. [ABSTRACT FROM AUTHOR]

The Secundinus stone, with its combination of carved phallus and text, was found in 2022 in excavations within the stone fort at Vindolanda. We consider comparanda for the imagery from Vindolanda, Britannia and further afield, and textual parallels particularly from Pompeii. We offer several possible interpretations of the object and prefer an analysis which takes the text, SECVNDINVS CACOR, as it is carved. This interpretation would add an otherwise unattested verbal form to the Latin scato-sexual vocabulary. [ABSTRACT FROM AUTHOR]

While family work is acknowledged as relevant in the care of eating disorders (EDs), not much literature has explored it in the period of transition from adolescence to young adulthood (16-18 to 30 y.o.). Yet this period is of significant importance in the prognosis and evolution of EDs; but its particular stakes require specific therapeutic settings-especially for inpatient EDs. In this paper, we start from the paradoxical observation that some families refuse this type of work in its usual form, with a family-dedicated therapist, and require to only exchange with the psychiatrist in charge of the treatment plan. We use a psychosomatic-informed psychoanalytic approach to shed light on this refusal as a latent denial of the contribution of family dynamics to the current symptom, and an unconscious tendency to stick to a dependency-laden family scheme. We then explain the conception of a specifically dedicated therapeutic setting, designed to address this specific type of resistance, offered to families as a therapeutic compromise designed to give them a specific position in the care of their child. In our joint therapeutic consultations, family dynamics are addressed on the basis of exchanges regarding treatment and in particular feeding. While such exchanges start from medical considerations, the therapeutic couple (psychiatrist-psychologist) uses them to address the parent and patient expectations underlying the symptom. We propose to call this act "inscription"; it enables a separation from the underlying dependency-oriented family scheme, while stressing the importance to care for associated parental anxieties. [ABSTRACT FROM AUTHOR]

Read through the concept of the multiframe (understood as a database of separable units), this article argues that comics are not a distinct cultural form, but an expression of archive. The principle of the archive orders and animates modern culture in general, infusing it with the unavoidable violence inherent in establishing structure and meaning. If comics are archival, the principles of comics reading can be applied to other archival forms. This article thus also examines the common law (an exemplary modern archive that has wide social and political significance and well-rehearsed connections with violence) as a 'legal multiframe' that is nested within the continuum with other frames in the potentially infinite multiframe of material culture. What is seen overall is both the unavoidable nature of the violence of framing in meaningful encounters with the world, and the continuity or interconnectedness of all cultural and meaningful forms. This understanding is enabled by an encounter with the multiframe that is not blinkered to its violent qualities, and does not seek to arbitrarily delineate 'comics' from other multiframed structures. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Legal Research Quarterly is the property of Shahid Beheshti University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Singapore Stone, discovered in 1819, was blown up in 1843 and remains an enigma today. Several studies have suggested the script to be Kawi, a Brahmic script used between the 8th and 16th centuries in Java and other parts of Southeast Asia. The language remains unknown but is thought to be Old Javanese, Sanskrit, or Tamil. There is great historical value in finding out what the script says, and it is the aim of this project to offer deeper insight into this undeciphered inscription. In this paper, an in-depth comparison of the Singapore Stone with the Calcutta Stone (1041 CE), a prominent example of a Later Kawi inscription, is performed. Brief comparisons of the Singapore Stone with other inscriptions are also conducted. Numerous characters on the Singapore Stone are matched to those on the Calcutta Stone. However, the Singapore Stone appears to have a much lower frequency of diacritics and clusters. Such a phenomenon is anomalous and could have hindered decryption efforts thus far. Nonetheless, an identification and comparison of such character signs are attempted. Overall, the two inscriptions are shown to share many stylistic similarities, suggesting that the Singapore Stone could be dated to the Later Kawi period.

يتناول هذا البحث دراسة أثرية وفنية للوح رخامي مربع الشكل، يبلغ طول ضلعه 57سم، عثر عليه بمقابر حسن بيك الشماشرجي المجاورة لمسجد وضريح الشيخ علي الروبي بمدينة الفيوم، وقد نقل هذا اللوح إلى دار المناسبات الحديثة الملحقة بالمسجد، وتم نزعه وتسجيله بمعرفة منطقة تفتيش الآثار الإسلامية والقبطية بالفيوم، وايداعه بمخزن المنطقة بدير الملاك غبريال بعزبة قلمشاة بالفيوم، تحت رقم سجل 221، واللوح الرخامي مسجل عليه كتابات جنائزية تتألف من خمسة أبيات من الشعر ذات وزن وقافية، يليها سطر واحد يحتوي على نص تجديد مدفن "شيَّرْيُن"، على يد أمير اللواء حسن بيك الشماشرجي حاكم إقليم الفيوم في عهد محمد على باشا الكبير والي مصر(1220-1265هـ/1805-1849م)، وقد أمره محمد علي باشا بتجديد مسجد الشيخ علي الروبي، وقد ورد اسم المتوفي ضمن النقش الكتابي وهو "شيَّرْيُن" ويرجح أنه من أسرة حسن بيك الشماشرجي، والكتابات مؤرخة بالأرقام والحروف العربية بنظام حساب الجمل بسنة 1230هـ، وسجلت هذه الكتابات بخط الثلث المنفذ بالحفر البارز. وقمنا في هذا البحث بتحليل وتفسير كتابات وزخارف هذا اللوح الرخامي المصنوع بمناسبة تجديد مدفن "شيَّرْيُن" بالفيوم على يد أمير اللواء حسن بيك سنة 1230هـ (1814-1815م)، وذلك في ضوء الظروف المختلفة للفيوم في السنة التي نقش فيها هذا اللوح وهي سنة 1230هـ. وقد تم تحليل وتفسير الألقاب والوظائف والعبارات الدعائية الواردة بهذا النقش. كما تناولنا أنواع الزخارف النباتية والهندسية والكتابية الموجودة على هذا اللوح الرخامي، وتحديد نوع المادة الخام التي نفذت عليها هذه الكتابات وتلك الزخارف، وسوف نتناول هذا اللوح وما جاء عليه من كتابات من حيث الشكل والمضمون، وتحديد نوع الخط المنفذ به هذه الكتابات، مع تفسير كل كتاباته وزخارفه كما سبق القول. This research deals with an archaeological and artistic study of a marble slab of a square shape, with a side length of 57 cm. It was found in the tombs of Hassan Bek Al-Shamasherji, adjacent to the mosque and the shrine of Sheikh Ali Al-Rubi in Fayoum. This tablet was transferred to the modern events house attached to the mosque. It was removed and recorded by the Islamic and Coptic Antiquities Inspection District in Fayoum, and deposited in the area store in the Monastery of Angel Gabriel in Ezbet Qalamshah in Fayoum, under record number 221, and the marble tablet is recorded with funeral inscriptions consisting of five verses of poetry with meter and rhyme, followed by one line containing the text of a burial renewal "Shirin", at the hands of the Emir of Major General Hassan Bek Al-Shamasherji, governor of the Fayoum region during the reign of Muhammad Ali Pasha the Great, the governor of Egypt (1220-1265 AH / 1805-1849 AD). Muhammad Ali Pasha ordered him to renovate the Sheikh Ali al-Rubi Mosque, and the name of the deceased was mentioned in the inscription, which is “Shireen” and it is likely that he was from the family of Hassan Bek Al-Shamasherji. In this research, we analyzed and interpreted the writings and decorations of this marble slab made on the occasion of the renovation of the cemetery of “Shirin” in Fayoum by the Emir of Major General Hassan Bey in the year 1230 AH (1814-1815 AD), in light of the different circumstances of Fayoum in the year in which this tablet was engraved, which is the year 1230 AH. The titles, positions, and propaganda phrases contained in this inscription have been analyzed and interpreted. We also dealt with the types of floral, geometric and epigraphic decorations found on this marble slab, and determining the type of raw material on which these writings and

This paper takes 1929 inscription sites in Henan Province as the study object and uses methods such as kernel density and nearest neighbor index to analyze their spatiotemporal distribution patterns and influencing factors. It also studies those patterns of various levels of inscription cultural relics’ protection units and content. All of these will help our understanding of the development process and characteristics of Central Plains art and provide reference for the protection and development of inscriptions in Henan in the future. The study indicates the following: (1) The spatial distribution of inscription sites is relatively uneven and the clustering is obvious, being mainly concentrated in the northern and northwestern regions of Henan, showing the characteristics of “one belt and four clusters” as a whole. The density is high in the north and low in the south, gradually decreasing from north to south. (2) In terms of time, the number of these inscription sites shows a fluctuating trend of first a slight increase and then a decrease with a significant increase and then a decrease. The center of the sites migrates from southwest to northeast over time. (3) These inscriptions can be divided into five primary themes and further subdivided into 16 secondary themes in terms of content. The main type is chronicle. (4) Inscriptions in Henan are mainly influenced by five major factors: topography, climate, economy and transportation, politics and society, culture and religion.

The Singapore Stone, discovered in 1819, was blown up in 1843 and remains an enigma today. Several studies have suggested the script to be Kawi, a Brahmic script used between the 8th and 16th centuries in Java and other parts of Southeast Asia. The language remains unknown but is thought to be Old Javanese, Sanskrit, or Tamil. There is great historical value in finding out what the script says, and it is the aim of this project to offer deeper insight into this undeciphered inscription. In this paper, an in-depth comparison of the Singapore Stone with the Calcutta Stone (1041 CE), a prominent example of a Later Kawi inscription, is performed. Brief comparisons of the Singapore Stone with other inscriptions are also conducted. Numerous characters on the Singapore Stone are matched to those on the Calcutta Stone. However, the Singapore Stone appears to have a much lower frequency of diacritics and clusters. Such a phenomenon is anomalous and could have hindered decryption efforts thus far. Nonetheless, an identification and comparison of such character signs are attempted. Overall, the two inscriptions are shown to share many stylistic similarities, suggesting that the Singapore Stone could be dated to the Later Kawi period. [ABSTRACT FROM AUTHOR]

The subject of the current research is the reading of a new inscription in Mount Hossein, Fars province, Marvdasht Plain, near Naqsh-e Rostam. The discovery of this inscription took place in the last months of 1400 solar year; It has been widely reflected in the news agencies and it has been referred to as an inscription that contains the names of Zoroaster and Amherspandan and as a non-burial inscription. Names whose existence is not observed in this inscription. It will also be seen that the present inscription is among the burial inscriptions. According to the classification of private inscriptions in this region, the present inscription can be mentioned as Naqsh-e Rostam 4, which was written in Middle Persian tradition. Burial inscriptions include an important part of private writings with Zoroastrian tradition, which due to the ritual nature of the historical and cultural collection of Naqsh-e Rostam, most of the inscriptions found in this area also have the same feature. Among the burial inscriptions that have been seen in this before; We can refer to Shāh Ismāʾil rock inscriptions, Darreh Boreh inscriptions, and Gīrd- e lak inscriptions. The present inscription also belongs to the same group of inscriptions. This inscription, measuring 30 x 35 cm, is engraved on top of a coffin in six lines, and it is said to belong to a person named Wahrām ī Mēhrag. According to the date mentioned in the inscription, it is likely to be related to the 6th of May in the year 40 of Yazdgerdi. This year is equal to 672 AD and 53 AH, which is the era of Muawiya's caliphate. Also, in this research, an attempt has been made to investigate the types of structures related to burial in Mount Hossein. The current research was conducted in the field and documents. [ABSTRACT FROM AUTHOR]

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Copyright of RUMELI: Journal of Islamic Studies is the property of Trakya University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En juillet 2010, en arpentant la région de Mornag, une première inscription a été retrouvée et qui nous a permis, grâce à la mention de l’ancien nom du site «Abzira libera», de localiser l’un des trente oppida libera mentionnés par Pline l’Ancien. Lors d’une deuxième tournée effectuée, le 28 décembre 2017, sur le site d’Ouzra, nous avons trouvé un socle de statue portant une inscription inconnue permettant de connaître, pour la première fois, le statut juridique de la ville romaine.

While family work is acknowledged as relevant in the care of eating disorders (EDs), not much literature has explored it in the period of transition from adolescence to young adulthood (16–18 to 30 y.o.). Yet this period is of significant importance in the prognosis and evolution of EDs; but its particular stakes require specific therapeutic settings–especially for inpatient EDs. In this paper, we start from the paradoxical observation that some families refuse this type of work in its usual form, with a family-dedicated therapist, and require to only exchange with the psychiatrist in charge of the treatment plan. We use a psychosomatic-informed psychoanalytic approach to shed light on this refusal as a latent denial of the contribution of family dynamics to the current symptom, and an unconscious tendency to stick to a dependency-laden family scheme. We then explain the conception of a specifically dedicated therapeutic setting, designed to address this specific type of resistance, offered to families as a therapeutic compromise designed to give them a specific position in the care of their child. In our joint therapeutic consultations, family dynamics are addressed on the basis of exchanges regarding treatment and in particular feeding. While such exchanges start from medical considerations, the therapeutic couple (psychiatrist-psychologist) uses them to address the parent and patient expectations underlying the symptom. We propose to call this act “inscription”; it enables a separation from the underlying dependency-oriented family scheme, while stressing the importance to care for associated parental anxieties.

The Bisotun relief is one of the most remarkable carvings of the Achaemenid period; Its uniqueness is that it can be distinguished from other reliefs of the Achaemenid period in terms of location and specific subject. The Bisotun relief narrates the suppression of rebels and insurgents who, during the time of Darius, claimed that Bardia owned the throne. With the help of some Persian aristocrats, Darius started suppressing them in different parts of the Achaemenid empire. In this relief, the description of these victories is engraved differently. This research aims to read the manifestations of repression on the Bisotun relief, based on Panofsky's iconography theory, and analyze the Darius era's social and political background using this approach's analytical methods and the text of Bisotun relief. The method of this descriptive-analytical research is based on Panofsky's theory. The information-collecting method is library and field, and the analysis is qualitative. The research findings and results indicate that the existing discourse in this relief shows a type of violence. It also implies Darius's manifest approach in planning and implementing the Bisotun relief. By elaborating on this relief's formation factors and analyzing and interpreting human motifs according to the social and political subtext of that period, it is possible to assume a propaganda function. [ABSTRACT FROM AUTHOR]

Jacques Ellul is best known for his The Technological Society (1954), which outlines a sociological treatment of Technique; that is, the total technical phenomenon including but extending far beyond machines. Lesser known are Ellul's theological works, though these relate plainly to the sociological. Of particular relevance to Technique is his theological treatment of civilisation in The Meaning of the City (1970). These two texts stand alone and yet, read together, are mutually illuminating. The present paper will follow this light from the ancient City to the Technique of modernity. This will entail first a focus on four Scriptural cities: Enoch, Resen, Babel, Nineveh. The way will then proceed via a literary route, through Cormac McCarthy's Blood Meridian, in which the abstractions here discussed are rendered palpable as flesh and blood. This detour will attend to those aspects of war and scalp-hunting which are central to McCarthy's text, especially in light of the epistemic enterprise of one of modern literature's most memorable characters: Judge Holden. The relation between the City and Technique will be followed by tracing the metaphysics of inscription which is a corollary to the project of epistemic legibility that underpins the movement of Technique. This enterprise will be understood as a confluence of Babel and Nineveh, a spiritual war that seeks to exclude God by enfolding the totality of existence into a humanly-determined order. The relation between the city, this process of inscription, and the nature of Technique will then be discussed. [ABSTRACT FROM AUTHOR]

Copyright of Linguistische Treffen in Wrocław is the property of Oficyna Wydawnicza ATUT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on materials collected from various sources, the article has deciphered and analyzed the characteristics, contents, and values of large characters, couplets, and inscriptions in Vietnam with subjects related to the I Ching in the past. The materials that the article analyzed have high quantities and diverse types, including both works on paper and artifacts. They can be found in many relics, including palaces, different types of literature temples (Wenmiao 文廟、Wenci文祠、Wenzhi 文址), communal houses, village temples, pagodas, ancestral halls, family shrines and entrance gates. The author of this article focuses on generalizing the basic issues of large characters, couplets, and inscriptions of the I Ching from the perspective of Confucian culture, the general mentality, common conception and the authors' intention. These issues are represented in different aspects such as form, content, method and exceptions during the composition process. The contents of the classics are also reflected through their practical application, which shows the vitality, influence and vividness of the I Ching in traditional Vietnamese life and culture. [ABSTRACT FROM AUTHOR]

Naming is a common practice in all societies. In each society, naming practices follow patterns that are generally predictable within their respective and identifiable feature categories.Names come from different sources and are inspired by the lived experiences of their bestowers. Whilst some names have clear and easily traceable meanings owing to their semantically transparent morphology or syntax, other meanings are only accessible when one gleans through the histories behind the names. Such histories come from the name givers' epistemological systems. Thus, besides being forms of identity, different categories of names perform different functions. This paper is an analysis of inscriptions written on public transport vehicles, commonly known as kombis. We argue that these inscriptions are names. Hence, the article interrogates the functions of these names and tries to unearth the philosophies contained therein. The inscriptions were gathered from kombis plying their routes on the streets of Harare, Zimbabwe's capital city. Data relating to the origins of these names and their semantic, cultural, and social significance was collected from kombi owners and crews. [ABSTRACT FROM AUTHOR]

The Qingjing Mosque in Quanzhou, Fujian Province, China, is one of the mosques that no longer exists, and it is considered one of the historical mosques on the southern coast of China, as it dates back to the Southern Song Dynasty (1127-1279 AD). The al-Ashab Mosque in Quanzhou preserves a stele of a Chinese inscription dated 1350 AD, which documents the reconstruction and renovation processes that occurred on the Qingjing Mosque during the Song and Yuan dynasties. This research paper aims to study the text on the architecture of the Qingjing Mosque within the texts of the stele in 1350 AD, and for that, the study is based on examining the historical text of the inscription on the one hand, and tracing the Chinese and Arab historical texts between the twelfth and thirteenth centuries that dealt with the mosque, on the other hand, such as the records of Lin Zhiqi and Zhua Rugua, in addition to the records of Ibn Battuta and the records of the history of the city. In this approach, the study provides an analysis of these texts and comparing them with each other as an attempt to extrapolate and verify their authenticity on the other hand. The analytical approach is to achieve the architectural history of the mosque, as an attempt to extrapolate the inscription and analyze it archaeologically. In this regard, the study aims to trace the history of the Qingjing Mosque, as well as to explore the architectural stages of the mosque, and to identify the sponsors and financiers of its architectural works during the Song and Yuan Dynasties. According to the stele dated 1350 AD, the mosque was built during the Southern Song Dynasty in 1131 AD by Najeeb Muzharuddin, one of the wealthy Muslims in Quanzhou. As for the second architecture of the mosque, it was in the year 1350 AD during the Mongol Yuan Dynasty, and Islamic figures in the Muslim community in the city participated in these works, for example, Sheikh Burhanuddin and the merchant Sharafuddin, the stele also recorded the contribution of some prominent Muslim leaders to the court of the Yuan Dynasty such as Jin Ali, as well as the Chinese historical texts introduced us to another leader who contributed to the architecture of the mosque, such as Pu Heri.

This article approaches the latest work of Alberto Moreiras on infrapolitics as self-conscious acts of writing which thinks its own conditions, or its own contingent textual inscription. In this sense, I propose that we can read this work as being informed by a question, even a preoccupation, over what form or style of writing is appropriate to announce or re-veal the existential dimensions proposed by the notion of infrapolitics. In exploring three such untimely textual inscriptions, the article approaches the stakes of what Moreiras thematises under the name of infrapolitics through how it informs the performativity of Moreiras’s own writing practice, exploring in the process the relationship that infrapolitics supposes to politics and to a certain critique of late capitalism, as well as other important concepts such as marranismo, the second turn of deconstruction, auto-graphic writing and demetaphorisation, among others.

Media coverage of migrant and refugee camps often concerns not everyday life in camps, but violence or a camp's outright destruction. These portrayals risk inscribing camps into public memory as sites of danger and criminality, or of vulnerability without agency. What methods of engaging with a camp's aftermath and its representation might enable more complex understandings of the reality of life in camps? We engage the camp as a site of inscription to reconsider the role of objects, structures, and writing left behind when a camp is destroyed or evacuated. Our proposed methodology of reading traces recognizes these objects and representations as testimonial inscriptions that counter erasure and that record frictions of (in)visibility and space, attesting to the camp as a site not of abjection, but of negotiation. [ABSTRACT FROM AUTHOR]

The Han Dynasty saw a rapid development in agricultural production, leading to significant increases in grain production. Wine made from grain became a common drink in people’s daily life and social occasions, and wine culture flourished in the Han Dynasty when the burial of bronze wine ware prevailed accordingly. One of the commonly buried bronze wine wares was the fang, a type of square-shaped wine container. A bronze fang belonging to the Marquis of Liangzou from the Han Dynasty is now housed in the China (Hainan) Museum of the South China Sea. It has a similar shape to the bronze fangs excavated from tombs of the same period in China and has a clearly visible inscription. This fang is the only known relic of the Liangzou Marquisate, which provides new physical material to prove the history of the Liangzou Marquisate in the Han dynasty. This paper examines the functions and evolution of the features of the fang, explains the meaning and significance of the inscription in the light of historical documents and other archaeological data, and discusses the inheritance and migration of the Liangzou Marquisate during the Han dynasty. The data obtained are compared with the inscriptions by means of detailed measurement and weighing, so as to study the measurement ratio between the Han dynasty and modern times. [ABSTRACT FROM AUTHOR]