History

... Mohammed A. Hasan Department of Electrical & Computer Engineering University of Minnesota Duluth Email:mhasan@d.umn.edu Abstract In this paper, new upper bounds for the magnitudes of the zeros of polynomials are developed These bounds ope denved from the ...

Note: This note demonstrates that 1) what Dennys Frenez & Massimo Vidale refer to as a Chimaera is a composite animal which is a characteristic signature tune of Indus Script Cipher; and 2) many hieroglyphs seen on these examples are read in Meluhha Indus Script rebus readings, reinforcing Meluhha as the Indian sprachbund, 'speech union' of the civilization. This is an attestation of the presence of Meluhha artisans in the Amu Darya & Mughrab river basins working with mineral,metal and precious stone resources for their lapidary, metalwork. In this collection of Indus seals along Amu Darya and Mughrab rivers is a three-sided copper tablet which shows such a composite animal.


These animals on the copper tablet are all Indus Script hieroglyphs. The rebus readings are:

சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23).



Hieroglhyph: Wing:  *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, ˚bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)


Three animals on side 3 of 1784/3 copper tablet: 1. one-horned young bull; 2. tiger 3. short-horned bull
Rebus readings are: koDe singi 'spiny-horned young bull' rebus: singi koD 'ornamental gold workshop' PLUS kunda 'lathe' rebus: kunda 'fine gold' konda 'furnace, kiln'; कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner'.(metalworker)kola 'tiger' rebus: kol 'working in iron'; barad, balad 'ox' Rebus: bharata 'factitious alloy of copper, pewter, tin'

Dotted circle hieroglyph: Dotted circle: dAya 'throw of one in dice' rebus:dhAi 'mineral ore' PLUS vaTTa 'circle';together, rebus धवड dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron.धावडी  dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron

Svastika hieroglyph: sattva 'svastika' glyph సత్తుతపెల a vessel made of pewter  त्रपुधातुविशेषनिर्मितम्
Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् त्रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada)

East Africa and Pakistan are currently suffering from the worst invasion of desert locusts in decades. Threatening agricultural production in East Africa, the assault increases the danger of famine in a region where 19 million people already face food insecurity. When locust invasions such as the current ones occur, journalists like to refer to them as "biblical" implying that these disasters are analogous to the ones described in the Bible or by classical writers. However, as this article will illustrate, locust invasions are neither acts of providence nor ancient disasters. In fact, they result from the interplay between natural and human factors and they have been of great concern to western governments in the 19th and 20th centuries, first within the scope of colonial empires, then as a consideration of international development policies.

Exhibition catalogue for 'As Handsome as the Chance Encounter' at RAM Galleri, 27 February-29 March 2020.

Content:
-Foreword, by Joakim Borda-Pedreira
-As Handsome as a Comparison, by Johanna Zanon
-Undressing Les Chants de Maldoror: from the rags of the Creator to the Riches of Mervyn, by Johanna Zanon
-Les Chants de Maldoror (excerpts), by Comte de Lautréamont
-In the Footsteps of Maldoror and Mervyn in Paris, 1869
-A Material Re-enactment of the Sixth Canto in the 21st Century, by Johanna Zanon
-Biographies

The article considers the campaign of Prince Igor against the Polovtsy in 1185. Based on the evidence set out in the Ipatiev Chronicle, the route of the Russian squad and the place of the battle with the Polovtsy are established. A comprehensive study of geographical objects allows you to correlate them with their real location. The hydronyms found in ancient Russian sources are explained. The study allows us to conclude that the main events occurred on the territory of modern in the Belgorod, Kharkov and Donetsk regions.

Until recently finding stone rollers next to ancient wine presses was considered a rather rare phenomenon. Even in the few instances when scholars mentioned such rollers, they deemed them to be an element unrelated to the wine press and the wine-making process and suggested they have a function that is not associated with the work of a wine press.
It seems the first one to deal with these stone rollers, indeed the kind that is specific to the Carmel, was L. Oliphant in 1883. He described the remains at H. Sumaqa on Mt. Carmel and wrote:

“I often found near these mills huge limestone rollers about three feet in diameter and seven feet long. On the sides of these were four vertical lines of sunk grooves, four or five grooves in each line. Taking 2.7 as the specific gravity of the stone, they must have weighed about two tons each. What their functions were, or whether they had anything to do with the olive-crushing process, I am at a loss to conjecture” (Oliphant 1887: 95).


Approximately 120 years later E. Netzer published installations used to produce date wine that he exposed in Jericho. He described a roller that was found in one of the installations as evidence that corroborates his conclusion that this was not a press for manufacturing grape wine because “a stone that is meant for crushing or pressing has no place in wine presses used to produce grape wine” (Netzer 2002: 73).
These two quotations, separated by 120 years, are sufficient to illustrate to what extent stone rollers were considered unusual and foreign to the landscape of ancient agricultural installations in the Land of Israel. It was against this background that we were surprised to discover, during study trips we conducted in southern Mount Hebron, a series of wine presses from the Roman period in the region of Susiya, in each of which there were a number of large stone rollers (Amit and Baruch 2007; Figs. 1-7). It was clear that these rollers are part of the wine press installations and are connected to the process of wine production. They were intended for crushing the grape skins and extracting the rest of the must from the fruit after treading on it by foot.

From a standpoint of the history of the research we should begin the discussion with the grooved stone rollers of the Carmel, which are a phenomenon unto themselves. It is possible that this phenomenon and its scope in that limited region is what diverted attention from the general picture of rollers in the other regions of the country and have delayed their study until now. The 19th cent. explorers of the Land of Israel have already expressed their opinion regarding the phenomenon on the Carmel. More than anyone else L. Oliphant, whose quotation is presented above, dealt with these rollers.
The largest concentration of such grooved columns (c. 30 items) is located at H. Sumaqa on Mount Carmel. The excavator of the site, S. Dar, discusses the grooved columns in the context of the production installations at the site and its vicinity, as well as at H. Raqit (Dar 1999: 77-94, 145-174; Dar 2004: 85-86). Dar surveyed a dozen installations which he refers to as “workshops” and excavated five of them. He dated them to the Late Roman period. The workshops where the grooved columns were used are different than the wine and oil presses that were found at the site and in its vicinity, although some of the components that are common to each of the agricultural production installations are somewhat similar. Because of this similarity Dar (1999: 77) first rejected the proposal put forth by R. Frankel and E. Ayalon (1988: 43) that these are wine presses. He also rejected his original suggestion that these are tanning installations because of the absence of any resemblance to known installations that were used for working skins. By way of elimination Dar proposed that these workshops were used to produce dye from the vegetation that grows on Mt. Carmel; however, he does admit the topic is still open to further discussion and even mentions the possibility that they were used for grape pressing (Dar 2004: 86).


In our search for parallels of the phenomenon, we were surprised to discover that the distribution of the wine presses with rollers is much more extensive than it seemed until now. It turns out that wine presses of this type are located in relatively dense concentrations and in defined regions that cover most parts of the settled country.

Desde la aparición de las primeras sociedades humanas, el agua, por
razones obvias, ha sido un elemento clave, buscado, valorado, y en torno
al cual se han construido todo tipo de asentamientos y estructuras. Estos factores ocasionaron que, al mismo tiempo, se produjera el nacimiento de toda una serie cultos relacionados con ella, que, conforme pasa el tiempo, sobreviven, evolucionan, se diversifican, y van alcanzando mayores gradosde sofisticación.
Con la llegada del mundo romano, esas creencias no solo se mantienen,
sino que aumentan, dando entrada a nuevas divinidades que experimentan varios procesos sincréticos con las deidades anteriores. Así, comienzan a aparecer y popularizarse, divinidades como Aquae, Fons, Fortuna Balnearia, Salus,, las Matres , y por supuesto las ninfas, entre otras.
Todo esto se materializa en el registro arqueológico por
medio de algunos tipos de estructuras, y objetos, entre los que cobran
especial importancia la epigrafía y los edículos de los ninfeos.
Estos últimos forman un amplio elenco de construcciones que se
erigen como los precedentes técnicos e ideológico-simbólicos de un gran número de fuentes abovedadas, localizadas a lo largo de toda la geografía de la Península Ibérica

This article tends to shed some more light on historical events which marked the relations between Germans and Serbs from the early Middle Ages to the present day. The very choice of facts and their brief presentation in this paper is no accidental, because it aims to create as realistic picture as possible for the reader about the cultural-political conflict between the Germanic peoples and the Serbs - the corps of Slavic nations which emerged after the 7th century by separating from the Serbs (initially by natural and later by forced ethnogenesis). Their civilizational differences and opposing geopolitical aspirations will not be reconciled in the foreseeable future, and that is why we can only speak of the different intensity of these conflicts, but certainly not of their cessation. From the data provided here, the one can see exactly the depth and true scale of this centuries-old conflict (which in a literal sense, is never interrupted). Ac-cordingly, for the reasons stated, understanding the essence of German-Serbian relations throughout history can lead us to get a much clearer view of the present geopolitical position of the Serbs as well as their perspective into the future.

Sebbene ogni dominio coloniale, per sussistere, si sia basato su una condizione di prevaricazione e di imposizione del potere, ogni circostanza ha conosciuto evoluzioni diverse nel tempo e nello spazio. È certo noto, ma molto meno studiato rispetto alle vicende metropolitane, l’utilizzo della violenza come forma di conquista e di mantenimento del potere in ambito coloniale. Ciò che avvenne oltremare, nel periodo liberale come in quello fascista, non fu soltanto una serie di guerre, combattute da eserciti attraverso strategie militari. Fu assai più spesso un esercizio costante di violenza, psicologica e fisica, perpetrato sui sudditi coloniali per ottenerne il consenso o, piuttosto, la completa sottomissione.

At which point an artist—or an architect—is ready to move from being a disciple to becoming a master?
How is proficiency, credibility, or autonomy achieved?
What is the thin line that marks this distinction?

This text untangles the complex relationships between masters, disciples, and architectural referents of the Bauhaus and Spain, while serves as an introduction to four essays that allow us to establish a broader historical continuity that travels from the time of the Bauhaus, with its three different directorships, to the present, signifying a series of key moments by means of a double record of people and buildings.
The introduced essays surpass the respective theme tackled, allowing us to bring the always complex bonds between masters and disciples, as well as the uncharted transfers between the Bauhaus and Spain, to a deeper level of examination, by means of architecture.

El presente artículo fue publicado en la revista Archives d'histoire doctrinale et littéraire du Moyen Age, Vol. 19, Librairie Philosophique J. Vrin, Paris, 1952, pp. 135 a 140 con el título de «Les "philosophantes"». La presente traducción fue realizada por Ignacio López Orozco en el año 2020.