They exist as uniform environments, not architectural and cultural palimpsests.
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Bodegas are like small bastions of earlier generations — palimpsests of a community.
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In this sense, the drawings are palimpsests depicting the action of battle.
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David Nolta: Most things in life are palimpsests — the works of many hands.
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Photo: Sinai Palimpsests ProjectWhat multispectral imaging can do in some cases has been impressive.
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Calvert's paintings are palimpsests, archeological digs, engagements with art history, improvisational riffs, and fractured views.
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Over five years, the researchers gathered 30 terabytes of images from 74 palimpsests—totaling 6,800 pages.
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Formal gravitas, palimpsests, allegories: I suppose that's a lot to attribute to the expression 'an eyeful.
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There's no deliberative rendering, no hesitancy in the marks, and no built-up palimpsests of reconsidered past decisions.
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The walls are immersed, floor to ceiling, in paintings that are like richly layered palimpsests of historical figures.
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Palimpsests of refuse, the assemblages in Sedimentations showcase art's power and, poignantly, its limitations, to effect material transformations.
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The class of 2019 is presenting works that inspire curiosity and fear — palimpsests for a generation still trying to understand itself.
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She is known for collagelike video installations — she has used the word "palimpsests" — that pull stories from diverse imagery and environments.
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His work invests a television-video format with alarming complexity: montages and interjections, ghostly palimpsests and these haunting rhythmic visual chants.
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Violence underpins its promise of oblivion; it is a word that leaves only palimpsests in its wake, undecipherable traces of whatever came before.
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The works are palimpsests of symbolic iconography that layer the portraits — two of Sikander herself and two of Akhtar — with the silhouettes of the Prophet and angels.
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Image: Sinai Palimpsests ProjectSimilar camera systems have been used to reveal words that Thomas Jefferson rubbed out and changed on an original draft of the Declaration of Independence.
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More recently, the two-part orchestral work "Palimpsests" (2002) glittered with the dazzling sonorities that have become Mr. Benjamin's hallmark, but also felt consumed by a wild, hungering energy.
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"There are two palimpsests here that have Caucasian Albanian text in the erased layer," says Michael Phelps, the director of the Early Manuscripts Electronic Library and leader of the project.
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In an obscure monastery in the Sinai peninsula, a team is now using a MegaVision multispectral imaging system to examine and catalog scores of palimpsests dating back to the 4th century.
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Daubed with splotches of color, and vaguely alphabetic "writing" and irregular lines made by rubbing onto an ink-covered sheet placed against their surfaces, many of Baron's collage works resemble palimpsests.
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They are murky palimpsests; for example, the painting "Report to London" (2015–2016) gives me the sense of layers of ciphers organized sequentially, until they become a message that is almost more noise than signal.
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In the palimpsests of Bradford's Pickett's Charge, one sees glimpses of the cyclorama in varying degrees of clarity and legibility amid the work's thick, three-dimensional striations, whose materials are often peeling away from the canvases.
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But above all, no other writer makes the case so convincingly that our hearts are palimpsests: each former lover etched over the next, each heartbeat an echo of a distant love, who now wanders the streets without us.
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Image: Sinai Palimpsests ProjectHistorical documents considered lost to the ravages of time—like crumbling parchment thousands of years old or medieval manuscripts whose ink long ago faded away—are being given a new life thanks to a technology known as multispectral imaging.
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It is easy to marvel at their accretion of history, at how their landscapes have become palimpsests of the various rulers and religions that sought to leave their mark — but when we do so, we must also marvel at the simple fact of their existence, of their millennia-long endurance, of their people's ability to persist.
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Faint legible remains were read by eye before 20th-century techniques helped make lost texts readable. To read palimpsests, scholars of the 19th century used chemical means that were sometimes very destructive, using tincture of gall or, later, ammonium bisulfate. Modern methods of reading palimpsests using ultraviolet light and photography are less damaging. Innovative digitized images aid scholars in deciphering unreadable palimpsests.
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The fragments were published by C. Taylor in his work Hebrew-Greek Cairo Genizah Palimpsests, Cambridge, 1900, pp. 54–65.
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Genette, Gérard & al. Palimpsests, . In English literature, the untranslated line makes an appearance in James Joyce's Finnegans Wake.FinnegansWiki. "Ouk elabon polin".
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The fragments comes from Egypt, were published by C. Taylor in his work Hebrew-Greek Cairo Genizah Palimpsests, Cambridge, 1900, pp. 54–65.
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Neith crater is a crater on Jupiter's moon Ganymede, the largest moon in the solar system. Impact features like Neith have been called "penepalimpsests" by some investigators or "dome craters" by others and are considered to be transitional between craters and palimpsests. Palimpsests are bright, nearly circular patches that are believed to be remnant impact features. They occur also on Callisto, Ganymede's neighbor farther distant from Jupiter.
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Since 2011, a team of imaging scientists and scholars from the U.S. and Europe has studied the library's collection of palimpsests. The project's original leaders were history professor Claudia Rapp of the University of California, Los Angeles, and Michael Phelps of the Early Manuscripts Electronic Library. Images from the project are freely available for research at the UCLA Online Library. Palimpsests are notable for having been reused one or more times over the centuries.
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He described his method of reworking it as like taking "photographs of Greece from an airplane."Genette, Gérard (1997). Palimpsests: Literature in the Second Degree. p. 236. University of Nebraska Press.
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It is a palimpsests. Some leaves were added (without erasing text). The upper text is in Pehlevi. The Greek text of this codex is a representative of the Alexandrian text-type.
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Gkekas during his "Palimpsests" exhibition at the Archaeological Park of Dion, Greece, in 2019. Gkekas in 2019Asteris Gkekas (Greek: Αστέρης Γκέκας) (born 18 November 1954) is a modern Greek artist from Thessaloniki, Greece.
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For instance, see Roberts, Jane (2011). “Some Psalter Glosses in Their Immediate Context”, in Palimpsests and the Literary Imagination of Medieval England, eds. Leo Carruthers, Raeleen Chai-Elsholz, Tatjana Silec. New York: Palgrave Macmillan, pp.
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Some Remarks on the Caucasian Albanian Palimpsests (2007) pp. 210. The alphabet had 52 letters. The language was widely used, as major Bible texts were translated into the Caucasian Albanian language. Church services were conducted in it.
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Georgian palimpsest from the 5th or 6th century Because parchment prepared from animal hides is far more durable than paper or papyrus, most palimpsests known to modern scholars are parchment, which rose in popularity in Western Europe after the 6th century. Where papyrus was in common use, reuse of writing media was less common because papyrus was cheaper and more expendable than costly parchment. Some papyrus palimpsests do survive, and Romans referred to this custom of washing papyrus. The writing was washed from parchment or vellum using milk and oat bran.
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In: Hebrew Studies, pp. 165-197,1991.Olszowy-Schlanger, J. "An Early Hebrew Manuscript from Byzantium", pp. 148-155. In: Zutot, 2002.Olszowy-Schlanger, J. "On the Hebrew script of the Greek-Hebrew palimpsests from the Cairo Genizah", 279-299.
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Handschriftenliste at the INTF It contains musical notes in red. The leaves 241 and 242 are palimpsests. The lower and earlier text was written in uncial letters in the 7th century. There are daily lessons from Easter to Pentecost.
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Only inscriptions, fragmentary manuscripts and the underwriting of palimpsests survive from the early period. Of the inscriptions, only one can be dated with any precision. The fragments are both Biblical and Patristic. The oldest complete manuscript dates to 1030.
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Franz Anton Knittel (April 3, 1721 - December 10, 1792) was a German, Lutheran orthodox theologian, priest, and palaeographer. He examined palimpsests' text of the Codex Guelferbytanus 64 Weissenburgensis and deciphered text of Codex Carolinus. He was the author of many works.
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Apart from the Caucasian Albanian palimpsests kept at Mt. Sinai, the most famous samples of Caucasian Albanian inscriptions were found in 1949 during excavations in Mingachevir region, Azerbaijan. Among the known Caucasian Albanian words are zow (I), own (and) and avel-om (much, ordinal form).
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A team of imaging scientists and scholars from the United States and Europe is currently using spectral imaging techniques developed for imaging the Archimedes Palimpsest to study more than one hundred palimpsests in the library of Saint Catherine's Monastery in the Sinai Peninsula in Egypt.
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Small craters lie along the rim to the northeast and one to the southwest. The interior floor is relatively level, but marked by a number of small craterlets as well as palimpsests, meaning circular rises in the surface that are now scarcely recognizable as craters.
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Vast destruction of the broad quartos of the early centuries took place in the period which followed the fall of the Western Roman Empire, but palimpsests were also created as new texts were required during the Carolingian Renaissance. The most valuable Latin palimpsests are found in the codices which were remade from the early large folios in the 7th to the 9th centuries. It has been noticed that no entire work is generally found in any instance in the original text of a palimpsest, but that portions of many works have been taken to make up a single volume. An exception is the Archimedes Palimpsest (see below).
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This series used "pieces of cloth...overwritten like palimpsests with the sewing machine, with pens, with ink, and even with blood." She is also well known for Humid Installation (1970), which affirmed her interest in depicting her native Romania's farming culture. She currently lives in Cluj-Napoca.
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It contains the Ammonian Sections numbers, without references to the Eusebian Canons (erased), and lectionary markings at the margin (for liturgical use). It is a palimpsests. The Greek text of this codex is a representative of the Byzantine text-type. Aland placed it in Category V.
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This song was apparently inspired by Cohen's love for the German model Nico. It has also been noted that the structure in which the song is both sung and recited on parallel tracks (most obvious in the first and last four lines) was inspired by Medieval palimpsests.
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It was also studied by Birch and others. The text of the codex was fully collated by S. P. Tregelles in 1850. Tregelles said that, of all the manuscripts he collated (presumably excluding palimpsests), it was the hardest to read. It was examined and described by Paulin Martin.
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Between the seventh and the ninth centuries, many earlier parchment manuscripts were scrubbed and scoured to be ready for rewriting, and often the earlier writing can still be read. These recycled parchments are known as palimpsests. Later, more thorough techniques of scouring the surface irretrievably lost the earlier text.
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He wrote many articles for Chambers's Encyclopaedia, and two - "Palimpsests" and "Papyrus" - for the Encyclopædia Britannica. He contributed other magazines, such as the Edinburgh Review, the Month, and the Irish Monthly. A popular work was his translation of Canon Schmid's Tales for the Young first published in 1846.
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In 1820 he visited the island of Zante in Greece and brought from there one of the most famous palimpsests, the Codex Zacynthius, to England. A short biography on Macaulay, 'A Life of General Colin Macaulay; Soldier, Scholar & Slavery Abolitionist', by Colin Ferguson Smith was privately published in November 2019 ().
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He was joint editor with Schechter of The Wisdom of Ben Sira, 1899. He published separately Cairo Genizah Palimpsests, 1900. He wrote also several works on geometry and participated in the creation and running of the journal Messenger of Mathematics. On 19 October 1907 he married Margaret Sophia Dillon, daughter of the Hon.
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They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver,Taylor 2010, p. 62 perhaps half the annual pay of a labourer.Faulkner 1994, p. 142 Papyrus itself was evidently costly, as there are many instances of its re-use in everyday documents, creating palimpsests.
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Geoffrey Chaucer recounted the story in his unfinished work The Legend of Good WomenGila Aloni, "Palimpsestic Philomela: Reinscription in Chaucer's 'Legend of Good Women'", in Palimpsests and the Literary Imagination of Medieval England, eds. Leo Carruthers, Raeleen Chai-Elsholz, Tatjana Silec. New York: Palgrave, 2011. 157–73. and briefly alluded to the myth in his Troilus and Criseyde.
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On February 20, 2004, following the poor results, the program was initially suspended for five weeks, on the decision of the same conductor, who was planning to alternate it with a new program that turned out to be 3, 2, 1 Baila; the alternation did not occur and therefore Sarabanda was canceled after six and a half years of presence in the palimpsests.
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The idea that language is self-referential was already an accepted truth in the world of pulp fiction. A postmodernist re-reads popular literature as an essential cultural production. Novels from Thomas Pynchon's The Crying of Lot 49 (1966), to Umberto Eco's The Name of the Rose (1980) and Foucault's Pendulum (1989) made use of intertextual references.See Gérard Genette, Palimpsests, trans.
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Also, unlike JPA and SA, only primary texts survive for CPA (in palimpsests). Most of the early transmitted texts (5th–7th centuries) are of biblical nature, often in the form of fragmentary lectionaries, but some are also theological, e.g. the catecheses by Cyril of Jerusalem, or hagiographic. There was no transmission of manuscripts after the language itself went out use as liturgical language.
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Her 2017 monograph American Routes: Racial Palimpsests and the Transformation of Race was the co-winner of the 2018 American Sociological Association's Barrington Moore Book Award in Comparative and Historical Sociology, the co-winner of the 2018 Social Science History Association's Allan Sharlin Memorial Book Award and received an Honorable mention for the 2018 American Sociological Association's Thomas and Znaniecki Distinguished Book Award for International Migration.
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The script consists of 52 characters, all of which can also represent numerals from 1 to 700,000 when a combining mark is added above, below, or both above and below them, described as similar to Coptic. 49 of the characters are found in the Sinai palimpsests. Several punctuation marks are also present, including a middle dot, a separating colon, an apostrophe, paragraph marks, and citation marks.
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He also suggested that some of the parchments were palimpsests which had been reused. Puin believed that this implied an evolving text as opposed to a fixed one. Keith Small, in Textual Criticism and Qur’ān Manuscripts, has concluded that it is not possible to develop a reliable critical text of the Quran based on the sources currently available.Small, Keith E. (2011). Textual Criticism and Qur’ān Manuscripts.
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The script is a pre-Carolingian minuscule from Northern Italy. There are a few decorated initials. Titles were added in the 9th century in a hand from the Abbey of St Silvester at Nonantola. Folios I-III are palimpsests and originally contained the Latin translation made by Mutianus Scholasticus of John Chrysostom's homilies on the Epistle to the Hebrews written in a late 7th century uncial script.
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All extant palimpsests are written in Cyrillic and modern photographic analysis has shown a previous layer of Glagolitic letters. # Some Cyrillic canon monuments contain occasional Glagolitic letters, words, or sentences, all written by the hand of the same scribe. Conversely, Cyrillic words or letters found in the Glagolitic monuments are seen as later additions. # Cyrillic glosses are present in Glagolitic manuscripts, but not the other way around.
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The codex was bound with the 12th century minuscule codex 2087, which contains portions of the Book of Revelation. Three leaves of the codex are palimpsests (folio 160, 207, 214) – they were overwritten by a later hand. Folio 207 contains a fragment of Ephraem Syrus in Greek, while the texts of folios 160 and 214 are still unidentified.Palau, A. C., “A Little Known Manuscript of the Gospels in: ‘Maiuscola biblica’: Basil.
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Despite the broken promise, the fairy lover eventually appears to justify Lanval, and to take him with her to Avalon. The tale was popular, and was adapted into English as Sir Landevale, Sir Launfal, and Sir Lambewell.Colette Stévanovitch, "Enquiries into the Textual History of the Seventeenth-Century Sir Lambewell (British Library, Additional 27897)", in Palimpsests and the Literary Imagination of Medieval England, eds. Leo Carruthers, Raeleen Chai-Elsholz, Tatjana Silec.
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Its dimensions are 220 mm x 142 mm. All pages of the manuscript are palimpsests; the lower layer of the text is Armenian, and represents an Armenian translation of the lectionary; the palimpsest text is written vertically in relation to the upper layer of the text. Two upper pages of the Georgian text form one page of the lower Armenian text. The Terminus ante quem for the Armenian manuscript is the 9th or 10th century.
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Richard F. Thomas, "Shadows are Falling: Virgil, Radnóti, and Dylan", in Michael Paschalis (ed.), Pastoral Palimpsests: Essays in the Reception of Theocritus and Virgil, Rethymnon Classical Studies, Vol. 3, 2007, Crete University Press, p. 205.Richard F. Thomas, "The Streets of Rome: The Classical Dylan" , Oral Tradition, 22/1 (2007; 30-56), pp. 35–37."An Interview with Richard Thomas on Bob Dylan and the Classics", Persephone: The Harvard Undergraduate Classics Journal, Spring 2017, Vol.
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Codex Basilensis, designated by Ee, 07 (in the Gregory-Aland numbering) or ε 55 (von Soden), is a Greek uncial manuscript of the four Gospels, dated paleographically to the 8th century. The codex is located, as its name indicates, in Basel University Library. The manuscript is lacunose, it has marginalia, and was adapted for liturgical reading. Three leaves of the codex were overwritten by a later hand; these leaves are considered palimpsests.
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For his work on the indigo color dyeing method, Giobert was made a knight (Cavaliere). Giobert also developed the Gioberti tincture, which involved application of hydrochloric acid and potassium ferrocyanide. The Gioberti tincture was used in the 19th century and early 20th century to restore illegible writings or faded pictures, before less harsh chemical reagents were found. Gioberti tincture was used to show the original inscriptions of palimpsests by conservators at the Vatican.
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His research team made 35,000 microfilm photographs of the manuscripts, which he dated to early part of the 8th century. Puin has not published the entirety of his work, but noted unconventional verse orderings, minor textual variations, and rare styles of orthography. He also suggested that some of the parchments were palimpsests which had been reused. Puin believed that this implied a text that changed over time as opposed to one that remained the same.
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Previous to that period the features were invariably represented conventionally, though sometimes personal peculiarities were added. A large number of brasses in England are palimpsests, the back of an ancient brass having been engraved for the more recent memorial.Page-Phillips 1980. Thus a brass commemorative of Margaret Bulstrode (1540) at Hedgerley in Buckinghamshire, on being removed from its position, was discovered to have been previously the memorial of Thomas Totyngton, abbot of St Edmundsbury (1312).
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This is something that was not visible under standard conditions, and something they didn't notice on other portraits. MSI also helps scholars to be able to read previously illegible texts. The Archimedes Palimpsest (further discussed below) is a famous example of this, but many other palimpsests have been rendered legible by this process. Multiple groups, institutions and companies work to image manuscripts using MSI and other methods to digitally preserve them, make them accessible to scholars, and improve legibility.
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Christian Palestinian Aramaic (CPA, also known as Palestinian Syriac, Jerusalem Syriac, Syropalestinian Aramaic or Melkite Aramaic) was a Western Aramaic dialect used by the Melkite Christian community in Palestine and Transjordan between the fifth and thirteenth centuries. It is preserved in inscriptions, manuscripts (mostly palimpsests in the first period) and amulets. All the medieval Western Aramaic dialects are defined by religious community. CPA is closely related to its counterparts, Jewish Palestinian Aramaic (JPA) and Samaritan Aramaic (SA).
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The codex contains lessons from the Gospels of John, Matthew, Luke lectionary (Evangelistarium), on 137 parchment leaves (), with some lacunae. The text is written in Greek minuscule letters, in two columns per page, 25-29 lines per page. In John 1:18 it has μονογενης without υιος. Several different leaves at the end (3rd, 4th, 5th, and 7th leaves) are palimpsests, from the 10th century, are written in uncial letters, in two columns per page, 32 lines per page (almost illegible).
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Self- secondary craters are a those that form from ejected material of a primary crater but that are ejected at such an angle that the ejected material makes an impact within the primary crater itself. Self-secondary craters have caused much controversy with scientists who excavate cratered surfaces with the intent to identify its age based on the composition and melt material. An observed feature on Tycho has been interpreted to be a self-secondary crater morphology known as palimpsests.
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Since parchment was expensive, monks would erase certain texts with lemon juice and write over them. Though the original texts were once assumed to be lost, the scholars used narrowband multispectral imaging techniques and technologies to reveal features that were difficult to see with the human eye, including ink residues and small grooves in the parchment. Each page took approximately eight minutes to scan completely. As of June 2018, at least 170 palimpsests were identified, with over 6,800 pages of texts recovered.
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NBC News "Mardi Gras Beads Make Fine Art" After Hurricane Katrina, he began creating series of palimpsests, using drawings, sketches, photographs and personal documents collected over 25 years, which he had salvaged from his flood damaged New Orleans home and studio, and began recycling them combining xerox, ink and the encaustic process. Buildings damaged by flood waters post- Hurricane Katrina became the subject of a series of architectural photographs, including the Western Union Building and the Maritime Building in New Orleans.
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Most large craters have breached or incomplete rims, despite the fact that some craters on Titan have relatively more massive rims than those anywhere else in the Solar System. There is little evidence of formation of palimpsests through viscoelastic crustal relaxation, unlike on other large icy moons. Most craters lack central peaks and have smooth floors, possibly due to impact-generation or later eruption of cryovolcanic lava. Infill from various geological processes is one reason for Titan's relative deficiency of craters; atmospheric shielding also plays a role.
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Genette is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such terms as trope and metonymy. Additionally his work on narrative, best known in English through the selection Narrative Discourse: An Essay in Method, has been of importance. His major work is the multi-part Figures series, of which Narrative Discourse is a section. His trilogy on textual transcendence, which has also been quite influential, is composed of Introduction à l'architexte (1979), Palimpsests: Literature in the Second Degree (1982), and Paratexts.
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A number of ancient works have survived only as palimpsests. Vellum manuscripts were over-written on purpose mostly due to the dearth or cost of the material. In the case of Greek manuscripts, the consumption of old codices for the sake of the material was so great that a synodal decree of the year 691 forbade the destruction of manuscripts of the Scriptures or the church fathers, except for imperfect or injured volumes. Such a decree put added pressure on retrieving the vellum on which secular manuscripts were written.
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Carter Scholz (né Robert Carter Scholz, born 1953) is a speculative fiction author and composer of music. He has published several works of short fiction (collected in The Amount to Carry, 2003) and two novels (Palimpsests 1984, with Glenn Harcourt; Radiance: A Novel 2002). He has been nominated for the Hugo and Nebula Award for Best Novelette for his story "The Ninth Symphony of Ludwig van Beethoven and Other Lost Songs". He also co-wrote The New Twilight Zone episode "A Small Talent for War" and contributed stories to Kafka Americana.
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The age relationships, morphology, and geometry of the furrow systems do not favor an origin by impact or tidal stressing. A possible, but speculative, origin is crustal uplift caused by a plume-like convection cell in a fluid mantle underlying a thin crust. Stratigraphic and morphologic relationships among furrows and crater palimpsests suggest that palimpsest morphology is largely the result of impact into a rheologically weak crust rather than viscous relaxation. The regio is bounded on the southwest by Uruk Sulcus, which lies between it and Marius Regio.
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The community around Theodore could revive monastic life at the abandoned Stoudios Monastery, but he had to leave Constantinople frequently in order to escape political persecution. During this period, the Patriarchates of Jerusalem and Alexandria (especially Sinai) remained centres of the hymnographic reform. Concerning the Old Byzantine notation, Constantinople and the area between Jerusalem and Sinai can be clearly distinguished. The earliest notation used for the books sticherarion and was theta notation, but it was soon replaced by palimpsests with more detailed forms between Coislin (Palestine) and Chartres notation (Constantinople).
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On plot changes in this and later versions, see Colette Stévanovitch, "Enquiries into the Textual History of the Seventeenth-Century Sir Lambewell", in Palimpsests and the Literary Imagination of Medieval England, eds. Leo Carruthers, Raeleen Chai-Elsholz, Tatjana Silec. New York: Palgrave, 2011. 193-204. In Marie's Old French version of the story, Guinevere is not involved in Lanval's initial departure from King Arthur's court, and he is simply a poor knight who has been overlooked by the king, not an over-generous knight vulnerable to getting into debt.
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Other everyday items held by the museum include hand tools, scrapers, pottery, arrowheads, tear bottles, cups (including a kylix), perfume bottles, coins, and clay tablet writings. These pieces demonstrate what life was like in antiquity in Egypt, Greece, Palestine, and Mesopotamia. A palimpsest parchment from around 700 A.D. is the most prized piece in the museum’s collection. Palimpsests are documents whose original text was erased and a new recording was written over the older text. This artifact has Coptic writings concerning the Wisdom of Solomon overwriting older writings of a glossary of Virgil’s Georgics written in Greek.
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Callisto's surface can be divided into several geologically different parts: cratered plains, light plains, bright and dark smooth plains, and various units associated with particular multi-ring structures and impact craters. The cratered plains constitute most of the surface area and represent the ancient lithosphere, a mixture of ice and rocky material. The light plains include bright impact craters like Burr and Lofn, as well as the effaced remnants of old large craters called palimpsests, the central parts of multi-ring structures, and isolated patches in the cratered plains. These light plains are thought to be icy impact deposits.
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The manuscript is called Codex Ephraemi Rescriptus because (a) it is a codex, i.e., a handmade book; (b) its parchment has been recycled; originally inscribed with scriptural texts, the pages were washed (removing most of the ink) and reused for another text, and (c) the text that was written on the recycled pages, in the 12th century, consisted of Greek translations of 38 treatises composed by Ephrem the Syrian, a prominent theologian of the mid-4th century. Manuscripts of this sort, consisting of recycled pages, are known as palimpsests. The later, "upper", text was written in the 12th century.
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Both the Syriac Sinaiticus (designated syrs) and the Curetonian Gospels (designated syrcur) known as the Old Syriac versionSynoptic edition George A. Kiraz, Comparative Edition of the Syriac Gospels Aligning the Sinaiticus, Curetonians, Peshitta and Harklean Version, I–IV (Brill; Leiden, 1996). contain similar renderings of the gospel text, exhibiting conformity with the Greek. Additional passages of the Old Syriac version were discovered among the New Finds of Saint Catherine's Monastery (Sinai, Syr. NF 37, 39).Sebastian P. Brock, Two Hitherto Unattested Passages of the Old Syriac Gospels in Palimpsests from St Catherie’s Monastery, Sinai, Δελτίο Βιβλικῶν Μελετῶν 31A, 2016, pp.
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The decline of the vellum trade with the introduction of paper exacerbated the scarcity, increasing pressure to reuse material. Cultural considerations also motivated the creation of palimpsests. The demand for new texts might outstrip the availability of parchment in some centers, yet the existence of cleaned parchment that was never overwritten suggests that there was also a spiritual motivation, to sanctify pagan text by overlaying it with the word of God, somewhat as pagan sites were overlaid with Christian churches to hallow pagan ground. Texts most susceptible to being overwritten included obsolete legal and liturgical ones, sometimes of intense interest to the historian.
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Elaine Pagels, Beyond Belief: The Secret Gospel of Thomas (Random House, 2003), page 176-177 (Pagels cites Athanasius's Paschal letter (letter 39) for 367 CE, which prescribes a canon, but her citation "cleanse the church from every defilement" (page 177) does not explicitly appear in the Festal letter.) Heretical texts do not turn up as palimpsests, scraped clean and overwritten, as do many texts of Classical antiquity. According to author Rebecca Knuth, multitudes of early Christian texts have been as thoroughly "destroyed" as if they had been publicly burnt.Knuth, R. (2006). Burning books and leveling libraries, p. 13.
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All the complete manuscripts are liturgical in nature.Sebastian P. Brock, "Christian Palestinian Aramaic", in Sebastian P. Brock, Aaron M. Butts, George A. Kiraz and Lucas Van Rompay (eds.), Gorgias Encyclopedic Dictionary of the Syriac Heritage: Electronic Edition (Gorgias Press, 2011 [print]; Beth Mardutho, 2018 [online]). Many of the palimpsests come from Saint Catherine's Monastery in Sinai (e.g., the Codex Climaci Rescriptus)Sebastian P. Brock, "Sinai: A Meeting Point of Georgian with Syriac and Christian Palestinian Aramaic", in The Causasus between East and West: Historical and Philological Studies in Honour of Zaza Aleksidze (Tbilisi, 2012), pp. 483–494.
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Holder of the chair of paleography at the École Pratique des Hautes Études from its origins, he became interested in manuscripts of the late antiquity and the early Middle Ages and especially the best represented writing, the Uncial script and the palimpsests. Under the influence of one of his listeners, Paul Legendre, he devoted considerable research to the use of Tironian notes.Denis Muzerelle, « Un siècle de paléographie latine en France », dans Armando Petrucci et Alessandro Pratesi, Un Secolo di paleografia e diplomatica (1887-1986), per il centenario dell’Istituto di paleografia dell’Università di Roma, Roma, Gela, 1988, (p. 131–158), at page 136 The archaeologist and epigrapher Louis Chatelain was his son.
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According to Armenian medieval historians Movses Khorenatsi, Movses Kaghankatvatsi and Koryun, the Caucasian Albanian (the Armenian name for the language is Aghvank, the native name of the language is unknown) alphabet was created by Mesrob Mashtots,J. Gippert, W. Schulze. Some Remarks on the Caucasian Albanian Palimpsests / Iran and the Caucasus 11 (2007). "Rather, we have to assume that Old Udi corresponds to the language of the ancient Gargars (cf. Movsēs Kałankatuac‘i who tells us that Mesrob Maštoc‘ (362–440) created with the help [of the bishop Ananian and the translator Benjamin] an alphabet for the guttural, harsh, barbarous, and rough language of the Gargarac‘ik‘)."К.
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Milorad Pavić was born in Belgrade, Kingdom of Yugoslavia on 15 October 1929 to a distinguished family of intellectuals and writers "that has produced well-known writers for six generations, since the 18th century".He thinks the way we dream by D. J. R. Bruckner He received a Bachelor of Arts in literature from the University of Belgrade, and later obtained a PhD in literary history at the University of Zagreb. Pavić entered the literary scene with two collections of poetry titled Palimpsests ('), and Moon Stone ('), published in 1969 and 1971, respectively. Pavić's poems were soon translated into English, and included in the anthology titled Contemporary Yugoslav Poems.
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The many layers of paint applied on the canvas to show the brutality of matter are in total opposition with the vulnerable and fragile human subjects of Pasqua's series. Pasqua uses mostly red, brown and grey hues, in an attempt to render the color of flesh.. His series of drawings depict the same subjects as his paintings but with voluntarily blurred outlines. Philippe Pasqua makes palimpsests, works on paper that mix serigraphy, print, paint, pastel and inking techniques. He comes back relentlessly to his own works, adding new colors or drawing over them.. In the late 1990s, he worked together with Jean-Luc Moulène, painting over his photographs, including his snapshots of Notre-Dame de Paris.
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Works—or, commonly, small fragments of works—have survived by being found by archaeologists during investigations, or accidentally by anybody, for example, the Nag Hammadi library scrolls. Works also survived when they were reused as bookbinding materials, quoted or included in other works, or as palimpsests, where an original document is imperfectly erased so the substrate on which it was written can be reused. The discovery, in 1822, of Cicero's De re publica was one of the first major recoveries of a lost ancient text from a palimpsest. Another famous example is the discovery of the Archimedes palimpsest, which was used to make a prayer book almost 300 years after the original work was written.
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Memphis Facula is a palimpsest, or "ghost crater", on Ganymede, the largest of the Jovian satellites. About 360 km across, it is situated in the southwestern part of Galileo Regio, a huge almost circular dark region in Ganymede's northern hemisphere. Although almost level today, it is a relic of a massive impact and once was a deep impact crater whose walls have slumped and its floor has risen isostatically, smoothing out the remaining topography with slush. The morphology of the larger palimpsests like Memphis Facula suggests that Ganymede's icy crust at the time of impact was about 10 km thick and was penetrated by the impact, allowing the slush and fluid beneath to fill and level out the crater.
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Wilhelm Studemund Wilhelm Studemund (3 July 1843, in Stettin – 8 August 1889, in Breslau) was a German classical philologist, known for his decipherment of the Ambrosian palimpsest of Plautus.A History of Classical Scholarship ...: The eighteenth century in Germany ... by Sir John Edwin Sandys He studied philology at the University of Berlin under August Boeckh and Moritz Haupt, and at the University of Halle as a student of Theodor Bergk. He received his doctorate in 1864, and then spent several years in Italy, during which time, he devoted his energy to the deciphering of palimpsests. In 1868 he became an associate professor at the University of Würzburg, and soon afterwards, he attained a full professorship.
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More recent post- structuralist theory, such as that formulated in Daniela Caselli's Beckett's Dantes: Intertextuality in the Fiction and Criticism (MUP 2005), re-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts. Some postmodern theorists Gerard Genette, Palimpsests: literature in the second degree, Channa Newman and Claude Doubinsky (trans.), University of Nebraska Press, Lincoln NE and London. like to talk about the relationship between "intertextuality" and "hypertextuality" (not to be confused with hypertext, another semiotic term coined by Gérard Genette); intertextuality makes each text a "living hell of hell on earth" Kristeva, 66. and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole World-Wide Web.
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The other fragments are mainly quotes found in the work of other authors (for example Augustine and Nonius Marcellus). Through these other authors' discussion of Cicero's treatise, the main topics of each book can be surmised. The discovery in 1819 by Cardinal Angelo Mai was one of the first major recoveries of an ancient text from a palimpsest, and although Mai's techniques were crude by comparison with later scholars', his discovery of De Republica heralded a new era of rediscovery and inspired him and other scholars of his time to seek more palimpsests. A copy was published in the 19th century by the Vatican library, and a transcript is available in the 1908 Supplementary Proceedings of the American School of Rome.
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His principal work was done in connection with the Arabic and other Oriental languages, but he also performed good service in several other departments. His principal work in Oriental literature is entitled Mémoire géographique et numismatique sur la partie orientale de la Barbarie appelée Afrikia par les Arabes, suivi de recherches sur les Berbères atlantiques (Milan, 1826). In this work, which established his reputation, he endeavours to ascertain the origin and the history of the towns in Barbary whose names are found on Arabic coins. Outside of Italy he is perhaps best known by his edition, begun in 1819, of some fragments of the Gothic translation of the Bible by Ulfilas, which had been discovered in 1817 by Cardinal Mai among the palimpsests of the Ambrosian Library.
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With the passing of time, the faint remains of the former writing would reappear enough so that scholars can discern the text (called the scriptio inferior, the "underwriting") and decipher it. In the later Middle Ages the surface of the vellum was usually scraped away with powdered pumice, irretrievably losing the writing, hence the most valuable palimpsests are those that were overwritten in the early Middle Ages. Medieval codices are constructed in "gathers" which are folded (compare "folio", "leaf, page" ablative case of Latin folium), then stacked together like a newspaper and sewn together at the fold. Prepared parchment sheets retained their original central fold, so each was ordinarily cut in half, making a quarto volume of the original folio, with the overwritten text running perpendicular to the effaced text.
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From descriptions in Marie's lais, and in several anonymous Old French lais of the 13th century, we know of earlier lais of Celtic origin, perhaps more lyrical in style, sung by Breton minstrels. It is believed that these Breton lyrical lais, none of which has survived, were introduced by a summary narrative setting the scene for a song, and that these summaries became the basis for the narrative lais. The earliest written Breton lais were composed in a variety of Old French dialects, and some half dozen lais are known to have been composed in Middle English in the 13th and 14th centuries by various English authors.Claire Vial, "The Middle English Breton Lays and the Mists of Origin", in Palimpsests and the Literary Imagination of Medieval England, eds.
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He also suggested that some of the parchments were palimpsests which had been reused. Puin believed that this implied an evolving text as opposed to a fixed one. In an article in the 1999 Atlantic Monthly, Gerd Puin is quoted as saying that: Canadian Islamic scholar, Andrew Rippin has likewise stated: For these reasons, some scholars, especially those who are associated with the Revisionist school of Islamic studies, have proposed that the traditional account of Quran's composition needs to be discarded and a new perspective on the Quran is needed. Puin, comparing Quranic studies with Biblical studies, has stated: In 2015, some of the earliest known Quranic fragments, containing 62 out of 6236 verses of the Quran and dating from between approximately AD 568 and 645, were identified at the University of Birmingham.
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With pigments of carbon black and red ochre, the reed pen was used to write on scrolls of papyrus—a thin material made from beating together strips of pith from the Cyperus papyrus plant—as well as on small ceramic or limestone potsherds known as ostraca.; ; ; ; . It is thought that papyrus rolls were moderately expensive commercial items, since many are palimpsests, manuscripts that have had their original contents erased to make room for new written works.. This, along with the practice of tearing pieces off of larger papyrus documents to make smaller letters, suggests that there were seasonal shortages caused by the limited growing season of Cyperus papyrus. It also explains the frequent use of ostraca and limestone flakes as writing media for shorter written works.. In addition to stone, ceramic ostraca, and papyrus, writing media also included wood, ivory, and plaster.
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The even more expensive pigment ultramarine, made from ground lapis lazuli obtainable only from Afghanistan, was used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies. Ivory, often painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziers, but in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off. As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.
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"Spomenici pisani glagoljicom u pravilu su primjetljivo arhaičniji po jeziku nego oni koji su pisani ćirilicom. [Monuments written in Glagolitic are generally noticeably more archaic in language than those written in Cyrillic.]" The evidence of pre-Moravian-mission phonetics Glagolitic alphabet was devised for and which it indirectly reflects, characteristic of the phonological system of a South Slavic Macedonian dialect in a specific timeframe of the late 9th century – the đerv, št and dzelo, and which are present in Glagolitic monuments either exclusively or predominantly, further corroborates their antiquity over Cyrillic in which these sounds are absent or changed by means of sound changes assumed to have occurred in the later period. # Of surviving Old Church Slavonic palimpsests, the observed tendency is for Glagolitic or Cyrillic to be written over Glagolitic, Cyrillic over Cyrillic, but never Glagolitic over Cyrillic.
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The paintings of the series Le temps du sommeil were begun in 1996 and often worked on at night. They feature visionary dreamlike scenes involving tiny suited men and women acting out strange rituals reminiscent of children’s games and gymnastic experiments. Many of these images anticipate and recall the forms he has employed in his actions, but the paintings connect to his actions in other ways too since their surfaces are worked and re-worked. The fact that the images are never final but rather are palimpsests, suggests the deep connection between figurative painting and action art that lies at the heart of Alÿs’ work. “What justifies my recourse to painting is that it’s the shortest way—or sometimes the only way—to translate certain scenarios or situations that cannot be said, that cannot be filmed or performed. It’s about entering a situation that could not exist elsewhere, only on the paper or canvas.
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This is then re-read into the artist's vision of nature and human experience, becoming palimpsests wherein we (as him) occupy surrealist-like dreams of wonder and regret ("Catching Clouds in Polychrome", "Seen and Unseen", and "Dawn Dispersed the Night"), narrate ironic metacommentaries of elitist consumerism ("Corporate Chic" or "Subliminal Abstract"), or a poetic return from civilizational (because patriarchal) hypocrisy towards a non-judgmental Nature that is motherly and nurturing ("Fragile Blue Sky"). The key to understanding these double-coded works is Roy's invocation of "pareidolia", or the human psyche's ability to recognize patterns from otherwise random forms. Also, the Latin 'alucinari' is flagged, as in the hallucinatory effect of dreams, mirages, and coded symbols that may mean nothing and everything at the same time. The role of the artist as conceptualizer of ideas coupled with revolutionary nature of the avant- garde practitioner who sees the virtues of both the ideal and the unified, thus indentures the forms that Roy Veneracion deploys in the reiteration of aesthetic integration - a melange of sorts - produced through this polyvalence of approaches and perspectives.
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Amazon Digital Services, 2014 Pedagogical Aspects of Environmentalism,Amazon Digital Services, 2013 A Review of Cameroonian Literature in English Vol.1, Amazon Digital Services, 2013 Emerging Perspectives on the Translation of Hybridized Literatures, Amazon Digital Services, 2013 Bate Besong: Why the Caged Bird Sings, Amazon Digital Services, 2013 Nuts and Bolts of Second Language Acquisition, Amazon Digital Services, 2013 Ntarikon: Where Rainstorms Gather. Amazon Digital Services, 2013 Méditations poétiques en camfranglais. Amazon Digital Services, 2013 Camfranglais: The Making of a New Language in the Cameroonian Nouveau Roman. Amazon Digital Services, 2013 Cry of the Environment, Amazon Digital Services, 2013 Clando Republic and Other Scrolls, Amazon Digital Services, 2013 A l'école de la rue. Amazon Digital Services, 2013 Yaounde: Autopsy of a Nation. Amazon Digital Services, 2013 Audible Palimpsests in the Francophone African Novel, Amazon Digital Services, 2013 Crossing the Threshold: Essays and Criticisms, Amazon Digital Services, 2013 Stories from the Grassfields of Cameroon, Amazon Digital Services, 2012 L'écrivain africain à la croisée des langues, Amazon Digital Services, 2012 Rite of Passage and Other Stories, Amazon Digital Services, 2012 Traduire ou Trahir? The Task of Translating Temps de Chien by Patrice Nganang.
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