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(PDF) Orthographic Features in Nebuchadnezzar II's Acrostic Hymn
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It aims to show that the text makes use of the possibilities of the cuneiform writing system to create various levels of meaning. The first example clarifies structure and content with regard to a difficult passage in the fourth and last stanza of the text, in which a possible change of actors is indicated by an orthographic feature. The second example shows how orthography is used in the first stanza of the text to augment its message. These examples demonstrate how structural elements and micro-features such as orthography were used creatively to enhance the message of the hymn.","author":[{"@context":"https://schema.org","@type":"Person","name":"Martina Schmidl"}],"contributor":[],"dateCreated":"2022-09-05","dateModified":"2024-11-26","datePublished":"2021-01-01","headline":"Ad astra: Graphic Signalling in the Acrostic Hymn of Nebuchadnezzar II (BM 55469)","image":"https://attachments.academia-assets.com/90690984/thumbnails/1.jpg","inLanguage":"en","keywords":["Assyriology","Literature","Linguistics","Orthography","Construction of Meaning","Cuneiform","Meaning Making","Neo-Babylonian period","Epigraphy","Neo Babylonian Empire","Acrostics","Hymn","Stanza","Nebuchadnezzar II"],"publication":"Altorientalische Forschungen","publisher":{"@context":"https://schema.org","@type":"Organization","name":"Walter de Gruyter 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{"work":{"id":86177606,"created_at":"2022-09-05T05:18:08.041-07:00","from_world_paper_id":214410931,"updated_at":"2024-11-26T12:41:10.660-08:00","_data":{"abstract":"This article examines two orthographic features in the Acrostic Hymn of Nebuchadnezzar II. It aims to show that the text makes use of the possibilities of the cuneiform writing system to create various levels of meaning. The first example clarifies structure and content with regard to a difficult passage in the fourth and last stanza of the text, in which a possible change of actors is indicated by an orthographic feature. The second example shows how orthography is used in the first stanza of the text to augment its message. 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const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=86177606"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { const viewCountNumber = Number(viewCount); if (!viewCountNumber) { throw new Error('Failed to parse view count'); } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (viewCountBody) { viewCountBody.textContent = `${commaizedViewCount} views`; } else { throw new Error('Failed to find work views element'); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">This article examines two orthographic features in the Acrostic Hymn of Nebuchadnezzar II. It aims to show that the text makes use of the possibilities of the cuneiform writing system to create various levels of meaning. The first example clarifies structure and content with regard to a difficult passage in the fourth and last stanza of the text, in which a possible change of actors is indicated by an orthographic feature. The second example shows how orthography is used in the first stanza of the text to augment its message. These examples demonstrate how structural elements and micro-features such as orthography were used creatively to enhance the message of the hymn.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":90690984,"attachmentType":"pdf","workUrl":"https://www.academia.edu/86177606/Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":90690984,"attachmentType":"pdf","workUrl":"https://www.academia.edu/86177606/Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="90690984" data-landing_url="https://www.academia.edu/86177606/Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="70196515" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/70196515/2021_Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_">2021 Ad astra: Graphic Signalling in the Acrostic Hymn of Nebuchadnezzar II (BM 55469)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="182553" href="https://uni-m.academia.edu/MartinaSchmidl">Martina Schmidl</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Altorientalische Forschungen 48/2, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">This article examines two orthographic features in the Acrostic Hymn of Nebuchadnezzar II. It aims to show that the text makes use of the possibilities of the cuneiform writing system to create various levels of meaning. The first example clarifies structure and content with regard to a difficult passage in the fourth and last stanza of the text, in which a possible change of actors is indicated by an orthographic feature. The second example shows how orthography is used in the first stanza of the text to augment its message. These examples demonstrate how structural elements and micro-features such as orthography were used creatively to enhance the message of the hymn.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"2021 Ad astra: Graphic Signalling in the Acrostic Hymn of Nebuchadnezzar II (BM 55469)","attachmentId":80398138,"attachmentType":"pdf","work_url":"https://www.academia.edu/70196515/2021_Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/70196515/2021_Ad_astra_Graphic_Signalling_in_the_Acrostic_Hymn_of_Nebuchadnezzar_II_BM_55469_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="37038252" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/37038252/Workshop_4_Spoken_Words_and_More_The_Early_History_of_the_Transmission_of_Meaning_through_Cuneiform_Writing">Workshop 4: Spoken Words and More – The Early History of the Transmission of Meaning through Cuneiform Writing</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1551093" href="https://fu-berlin.academia.edu/G%C3%B6staGabriel">Gösta Gabriel</a></div><p class="ds-related-work--abstract ds2-5-body-sm">General abstract Looking back from today, probably the most influential legacy of ancient Mesopotamia was the invention of writing at the eve of the 4th millennium BCE. Most of today's writing systems owe their existence to this epochal innovation in Mesopotamia (and other places). Modern (Western) systems are mainly a medium to store and record spoken language. It is exactly this quality that Jacques Derrida criticized as phono-and logocentric; writing would be much more than just a servant of spoken words. However, this criticism does not affect cuneiform writing to the same extent since its signs function in a more complex way. While cuneiform signs first appeared in administrative contexts, they soon became more than a notation system supporting bureaucratic practices. Already in the earliest stratum of writing (Uruk IV), lexical lists were found. This may be the first example of the ongoing exploration of the communicative potential of cuneiform writing in various contexts such as epistemic and/or religious practices. Furthermore, although it becomes increasingly glottographic, cuneiform never turns into a writing system that solely communicates spoken language. It always possesses various sign functions such as syllabograms, determinatives, or logograms. The workshop investigates the first millennium of the history of cuneiform writing. It tackles questions such as how various sign functions serve specific needs, especially with respect to efficient information processing in the context of distinctive cultural practices. The same focus is applied to the shape of graphemes, sign order (e.g. in lexical lists), and the phenomenon of 'ontological'/'etymological' writing. Finally, the papers investigate the communicative contexts in which early cuneiform was used (e.g. human–divine interaction). Thus, the workshop explores the specific epistemic potential of cuneiform writing. Evaluating the differences between modern and ancient writing also helps us to understand today's systems of communication in a more comprehensive way. This is especially true in a time when pictographic notation systems like Emojis have evolved, which apparently close a gap left by our alphabetic phonocentric writing systems.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Workshop 4: Spoken Words and More – The Early History of the Transmission of Meaning through Cuneiform Writing","attachmentId":56988464,"attachmentType":"pdf","work_url":"https://www.academia.edu/37038252/Workshop_4_Spoken_Words_and_More_The_Early_History_of_the_Transmission_of_Meaning_through_Cuneiform_Writing","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/37038252/Workshop_4_Spoken_Words_and_More_The_Early_History_of_the_Transmission_of_Meaning_through_Cuneiform_Writing"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="82446994" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/82446994/Reading_between_the_Lines_A_Narratological_Approach_to_the_Deir_Alla_Inscription_Combination_I">Reading between the Lines: A Narratological Approach to the Deir Alla Inscription Combination I</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5510400" href="https://telaviv.academia.edu/AlexandraWrathall">Alexandra Wrathall</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2014</p><p class="ds-related-work--abstract ds2-5-body-sm">Theoretical thesis.Bibliography: pages 69-73.Chapter I. Introduction -- Chapter II. Methodology -- Chapter III. Narrative commentary -- Chapter IV. Conclusion.Two separate schools of thought, historicism and narratology have struggled to communicate with one another since their first intellectual collision in the 20th Century. Fifty years later, and both fields have advanced into schools of thought that share interdisciplinary methodologies. Narratology has newly identified internal structures, revealing complex and universal processes to the creation and transmission of narrative. However, narrative is not a new concept, but rather has been a method of cultural preservation, representation and transmission for centuries. This study endeavours to facilitate a conversation between narratology and ancient text criticism. Due to the scope of narratology, the focus of this study has been narrowed to how time and temporality intersect with narrative to create and communicate meaning. To ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Reading between the Lines: A Narratological Approach to the Deir Alla Inscription Combination I","attachmentId":100984653,"attachmentType":"pdf","work_url":"https://www.academia.edu/82446994/Reading_between_the_Lines_A_Narratological_Approach_to_the_Deir_Alla_Inscription_Combination_I","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/82446994/Reading_between_the_Lines_A_Narratological_Approach_to_the_Deir_Alla_Inscription_Combination_I"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="109874190" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/109874190/Verbal_Art_in_the_Heat_of_the_Sinai_Harwerres_Inscription_IS_90_">Verbal Art in the Heat of the Sinai: Harwerre's Inscription (IS 90)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="641202" href="https://ephe.academia.edu/AndreasStauder">Andreas Stauder</a></div><p class="ds-related-work--metadata ds2-5-body-xs">ZÄS 150.2, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">(Pdf is pp. 1-3 of the article — for the full pdf, write to andreas.stauder@ephe.psl.eu) Study of Harwerre's inscription at Serabit el-Khadim (IS 90; year 6 of Amenemhat III). Part 1 offers a philological discussion and new translation of this difficult text. Part 2 shows how the textual composition is patterned throughout on all hierarchical levels. (A proposal for calibration in prosodically patterned Middle Kingdom texts is outlined, differing from both Fechtian "metrics" and Fosterian "thought couplets.") The patterning extends to deep rhythmical levels, supporting the hypothesis that the text could have been recited on occasions. The overall form of the composition, at once bipartite and concentric, foregrounds the turn to success brought about by the king's "might" (bȝw). Superimposed on this, a concentric framing, rhythmical patterning, and phonetic echoes concur in celebrating "Hathor" (ḥwt-ḥr) as lady of the "beautiful skin" (ỉnm nfr). Part 3 relates the textual composition to its contexts: the stela on which it is inscribed, the place where that stela stands, and the time of Amenemhat III. This is tightly integrated with the other pictorial and written elements on the stela whose two faces mediate between the powers in the sanctuary (eastern face) and the incoming visitor (western face). On the western face, the turn to success through the king is set in the exact middle lines 13-14 of the 26-line long textual inscription, meeting the incoming visitor at roughly eye's height. Echoes of Harwerre's text in neighboring inscriptions of the immediately following years attest to the local reception of an out-of-the-ordinary text and monument. The product of a composer versed in the patterns of contemporary poetry, the text is a token of a productive reception of such during the reign of Amenemhat III.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Verbal Art in the Heat of the Sinai: Harwerre's Inscription (IS 90)","attachmentId":107866929,"attachmentType":"pdf","work_url":"https://www.academia.edu/109874190/Verbal_Art_in_the_Heat_of_the_Sinai_Harwerres_Inscription_IS_90_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/109874190/Verbal_Art_in_the_Heat_of_the_Sinai_Harwerres_Inscription_IS_90_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="117313209" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/117313209/The_script_that_hides_behind_the_inscription_The_Eghegis_Tomb_inscriptions_of_the_13th_century">The script that hides behind the inscription: The Eghegis Tomb inscriptions of the 13th century</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7162911" href="https://independent.academia.edu/EdnaEngel">Edna Engel</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Traditionally, the study of inscriptions, defined as epigraphy, was distinct from palaeographythe study of manuscripts. However, these fields are not necessarily separate. The distinction between palaeography and epigraphy, prevalent in early palaeographic studies, has almost lost its validity in contemporary research. In my comparative studies of first-millennium Hebrew scripts and of mediaeval European Hebrew tombstone inscriptions I concluded that similar calligraphic features are revealed in both manuscripts and inscriptions. 1 Indeed, their shared features assisted the construction of a single typology for both medieval Hebrew book-scripts and inscriptions. Nonetheless stone inscriptions should not always be treated in the same way as handwriting, which invariably reflects direct contact between the scribe and the writing material. However, because script quality and its lapidary expression were affected by the skill and ability of the individuals performing this task, cases in which calligraphic script was drawn on stone by a professional scribe will probably better reveal the character of the calamus script than will the common script made by unqualified hands. 2</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The script that hides behind the inscription: The Eghegis Tomb inscriptions of the 13th century","attachmentId":113202497,"attachmentType":"pdf","work_url":"https://www.academia.edu/117313209/The_script_that_hides_behind_the_inscription_The_Eghegis_Tomb_inscriptions_of_the_13th_century","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/117313209/The_script_that_hides_behind_the_inscription_The_Eghegis_Tomb_inscriptions_of_the_13th_century"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="121219059" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/121219059/A_Babylonian_Manuscript_of_the_Great_Hymn_to_I%C5%A1tar_Kaskal_19_2022_169_176">A Babylonian Manuscript of the Great Hymn to Ištar, Kaskal 19 (2022), 169–176</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2736122" href="https://lmu-munich.academia.edu/EnriqueJim%C3%A9nez">Enrique Jiménez</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Kaskal 19, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">The Electronic Babylonian Literature (eBL) team has achieved several milestones in 2022. First, the Fragmentarium has now reached the size of 21,200 cuneiform tablets, totalling over 300,000 lines of text. Secondly, the Corpus has been greatly enlarged with editions of several texts, such as the Hymn to Ninurta as Savior, the Great Prayer to Nabû, and particularly the Epic of Gilgameš. Thirdly, a sophisticated string-alignment algorithm, based on the python-alignment library, has been fine-tuned for cuneiform script and implemented. The algorithm has been run several times, and has found several matchings that had escaped the attention of humans, such as a new fragment of the latest datable manuscript of Gilgameš edited in no. 27, text no. 2. The growth of the manuscript base of texts is important in its own right, but it also has a larger significance for the understanding of Mesopotamian literature, since it contributes decisively to its contextualization. The importance of recovering the context in a tradition in which the authors of most texts are still unknown, and indeed in which the date of composition of almost all works of literature is impossible to establish, can hardly be overstated. In this respect, the pièce de résistance of this collection is constituted by T. Mitto's new edition of the Catalogue of Texts and Authors (no. 26). The edition is informed by several new fragments and includes two pieces of a hitherto unsuspected</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"A Babylonian Manuscript of the Great Hymn to Ištar, Kaskal 19 (2022), 169–176","attachmentId":116156429,"attachmentType":"pdf","work_url":"https://www.academia.edu/121219059/A_Babylonian_Manuscript_of_the_Great_Hymn_to_I%C5%A1tar_Kaskal_19_2022_169_176","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/121219059/A_Babylonian_Manuscript_of_the_Great_Hymn_to_I%C5%A1tar_Kaskal_19_2022_169_176"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="2063822" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2063822/Gods_Kings_Men_Trilingual_Inscriptions_and_Tripartite_Visualizations_in_the_Achaemenid_Empire">Gods, Kings, Men: Trilingual Inscriptions and Tripartite Visualizations in the Achaemenid Empire</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2596225" href="https://luc.academia.edu/JenniferFinn">Jenn Finn</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Gods, Kings, Men: Trilingual Inscriptions and Tripartite Visualizations in the Achaemenid Empire","attachmentId":29693126,"attachmentType":"pdf","work_url":"https://www.academia.edu/2063822/Gods_Kings_Men_Trilingual_Inscriptions_and_Tripartite_Visualizations_in_the_Achaemenid_Empire","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2063822/Gods_Kings_Men_Trilingual_Inscriptions_and_Tripartite_Visualizations_in_the_Achaemenid_Empire"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="43790800" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43790800/Poetic_Text_and_Its_Iconographic_Interpretation_The_Akathistos_Hymn_in_the_Russian_and_Cretan_Religious_Art">Poetic Text and Its Iconographic Interpretation: The Akathistos Hymn in the Russian and Cretan Religious Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="140081213" href="https://novsu.academia.edu/VisualTheology">Journal of Visual Theology</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Visual Theology / Визуальная теология, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">This paper focuses on topics relevant to the visual interpretation of poetic verbal texts in their source culture as well as the target culture for which they were translated. The research was realized on fresco and icon cycles that illustrate the poetic text of the Akathistos Hymn. The Greek original text of the hymn is examined in contrast to its Slavonic translation through a parallel comparative analysis of their iconographic interpretations in Russian and Cretan religious art. Seeing as they have never been comparatively studied before, this analysis provides fertile ground for interesting discoveries and research. The Cretan tradition is studied through two complete Akathistos fresco cycles (from the church in the village of Roustica and the cathedral of Valsamonero Monastery), four incomplete Akathistos fresco cycles from the 14 th-early 15 th century, and the margin scenes on the icon of Panagia Galactotrofousa (1748) by G. Kastrofilakas. The Russian tradition is studied through a fresco cycle from the Ferapontov monastery (approx. 1500) by Dionisius, and the margin scenes on six Russian icons representing different icono-graphic schools of the 16 th-early 17 th century. The differences between these two icono-graphic traditions in regard to the text's interpretation are divided into two categories: a) those related to the differences between the original text and its Slavonic translation; and b) those related to the different connotations of the original text and its Slavonic translation in the source and target cultures. Typical examples of both categories are presented. As far as the first category is concerned, we discuss whether the variations of the cycle structure in the Russian tradition were caused by the absence of the alphabet acrostic in the Slavonic translation. The second category is studied both through examples of different fragments of the same poetic text illustrated by painters and through different symbolic verbal image interpretations by means of visual art in both traditions. The results of the comparative analysis demonstrate that Cretan painters were more creative in the visual interpretation of the poetic text's symbolic background due to the fact that they interpreted the original text of the hymn in the context of the culture in which it was created. This provides numerous verbal and non-verbal connotations for each verbal sign of the text. On the other hand, the Russian iconographic tradition did not have this direct contact with the text due to the translation process it had gone through, as well as due to the semiotic gap between the source and the target culture. This is why it failed to display an equally as large number of symbolic interpretations. However, it did discover and emphasize other messages and connotations of the same poetic text which became more important in the context of that other culture. Therefore, the comparative study of religious art traditions helps us understand the various ways a single text that has close ties to the semiotic features of different cultures can be perceived and interpreted in said cultures.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Poetic Text and Its Iconographic Interpretation: The Akathistos Hymn in the Russian and Cretan Religious Art","attachmentId":64106427,"attachmentType":"pdf","work_url":"https://www.academia.edu/43790800/Poetic_Text_and_Its_Iconographic_Interpretation_The_Akathistos_Hymn_in_the_Russian_and_Cretan_Religious_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43790800/Poetic_Text_and_Its_Iconographic_Interpretation_The_Akathistos_Hymn_in_the_Russian_and_Cretan_Religious_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="43284246" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43284246/Altbabylonische_Hymnen_eine_Gattung_in_I_Arkhipov_L_Kogan_N_Koslova_ed_The_Third_Millennium_Studies_in_Early_Mesopotamia_and_Syria_in_Honor_of_Walter_Sommerfeld_and_Manfred_Krebernik_Cuneiform_Monographs_50_2020_659_674">Altbabylonische Hymnen - eine Gattung?, in: I. Arkhipov/L. Kogan/N. Koslova (ed.), The Third Millennium. Studies in Early Mesopotamia and Syria in Honor of Walter Sommerfeld and Manfred Krebernik (= Cuneiform Monographs 50, 2020) 659-674.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="31405428" href="https://uni-leipzig.academia.edu/MichaelPStreck">Michael P Streck</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Altbabylonische Hymnen - eine Gattung?, in: I. Arkhipov/L. Kogan/N. Koslova (ed.), The Third Millennium. Studies in Early Mesopotamia and Syria in Honor of Walter Sommerfeld and Manfred Krebernik (= Cuneiform Monographs 50, 2020) 659-674.","attachmentId":63559962,"attachmentType":"pdf","work_url":"https://www.academia.edu/43284246/Altbabylonische_Hymnen_eine_Gattung_in_I_Arkhipov_L_Kogan_N_Koslova_ed_The_Third_Millennium_Studies_in_Early_Mesopotamia_and_Syria_in_Honor_of_Walter_Sommerfeld_and_Manfred_Krebernik_Cuneiform_Monographs_50_2020_659_674","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43284246/Altbabylonische_Hymnen_eine_Gattung_in_I_Arkhipov_L_Kogan_N_Koslova_ed_The_Third_Millennium_Studies_in_Early_Mesopotamia_and_Syria_in_Honor_of_Walter_Sommerfeld_and_Manfred_Krebernik_Cuneiform_Monographs_50_2020_659_674"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="121610780" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/121610780/The_theatrics_of_Arabic_script_word_and_as_image_in_the_diagrams_of_the_Kit%C4%81b_al_diry%C4%81q_BnF_arabe_2964_">The theatrics of Arabic script: word and/as image in the diagrams of the Kitāb al-diryāq (BnF arabe 2964)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2728659" href="https://cambridge.academia.edu/ZahraKazani">Zahra Kazani</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Word & Image 40: 2, 2024</p><p class="ds-related-work--abstract ds2-5-body-sm">This article focuses upon the arrangement of written words in geometric shapes or patterns, specifically in Arabic script. It takes the case of the Kitab al-diryaq (Book of Antidotes, 595 AH/1199 CE, BnF arabe 2964), an illuminated and illustrated manuscript that features a series of geometric compositions created using Arabic script. The script is employed in conjunction with or independent of geometric lines and curves, with its ligatures compressed and elongated, and words repeated, ornamented, or oriented multidirectionally to augment the geometric shape. The aesthetic manipulation of the script in this manner severely compromises the legibility of the words--the pages invite a viewing of the script rather than a reading of the text. By closely examining a set of four such compositions-articulated as diagrams-the article demonstrates the semantic value of the visual script patterns when read in concert with the verbal content. Furthermore, by focusing on the extralinguistic components of the diagrams, I argue that the arrangement of text in geometric patterns is a vital medium of transmitting knowledge-the form not only shapes the reception of verbal messages but also augments an aesthetic image; operates as a cognitive device; and transforms the text into a scientific representation. The diagrams visually and semantically shape knowledge.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The theatrics of Arabic script: word and/as image in the diagrams of the Kitāb al-diryāq (BnF arabe 2964)","attachmentId":116446472,"attachmentType":"pdf","work_url":"https://www.academia.edu/121610780/The_theatrics_of_Arabic_script_word_and_as_image_in_the_diagrams_of_the_Kit%C4%81b_al_diry%C4%81q_BnF_arabe_2964_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/121610780/The_theatrics_of_Arabic_script_word_and_as_image_in_the_diagrams_of_the_Kit%C4%81b_al_diry%C4%81q_BnF_arabe_2964_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":90690984,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":90690984,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_90690984" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="36234824" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/36234824/Winter_I_J_2016_Text_on_in_Monuments_Lapidary_Style_in_the_Ancient_Near_East_Sign_and_Design_Script_as_Image_in_a_Cross_Cultural_Perspective_300_1600_CE_B_M_Bedos_Rezak_and_J_F_Hamburger_eds_Washington_D_C_Dumbarton_Oaks_Research_Library_and_Collection_197_218">Winter, I. J. (2016). Text on/in Monuments: ‘Lapidary Style’ in the Ancient Near East. Sign and Design: Script as Image in a Cross-Cultural Perspective (300-1600 CE). B. M. Bedos-Rezak and J. F. Hamburger (eds.). Washington, D.C., Dumbarton Oaks Research Library and Collection: 197-218.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7397563" href="https://harvard.academia.edu/IreneWinter">Irene Winter</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Winter, I. J. (2016). Text on/in Monuments: ‘Lapidary Style’ in the Ancient Near East. Sign and Design: Script as Image in a Cross-Cultural Perspective (300-1600 CE). B. M. Bedos-Rezak and J. F. Hamburger (eds.). Washington, D.C., Dumbarton Oaks Research Library and Collection: 197-218.","attachmentId":56138651,"attachmentType":"pdf","work_url":"https://www.academia.edu/36234824/Winter_I_J_2016_Text_on_in_Monuments_Lapidary_Style_in_the_Ancient_Near_East_Sign_and_Design_Script_as_Image_in_a_Cross_Cultural_Perspective_300_1600_CE_B_M_Bedos_Rezak_and_J_F_Hamburger_eds_Washington_D_C_Dumbarton_Oaks_Research_Library_and_Collection_197_218","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/36234824/Winter_I_J_2016_Text_on_in_Monuments_Lapidary_Style_in_the_Ancient_Near_East_Sign_and_Design_Script_as_Image_in_a_Cross_Cultural_Perspective_300_1600_CE_B_M_Bedos_Rezak_and_J_F_Hamburger_eds_Washington_D_C_Dumbarton_Oaks_Research_Library_and_Collection_197_218"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="1" data-entity-id="28813523" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/28813523/Du%C5%A1ek_J_Myn%C3%A1%C5%99ov%C3%A1_J_Tell_Fekheriye_Inscription_A_Process_of_Authority_on_the_Edge_of_the_Assyrian_Empire_2016_">Dušek, J. - Mynářová, J., Tell Fekheriye Inscription. 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