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As for the pseudo-heterogram <PWN>, which was used to render Middle Persian pad 'at', its new reading as "corrupt" <N'> in administrative texts would dissociate it in an unwarranted fashion from its antecedent <PWI\I> in Inscriptional Pahlavi.
The second half of this discussion will focus on Browning's representation of Aurora's inscriptional labor.
Harland uses contemporary social-scientific models of identity theory, ethnic studies, and migration studies, and applies these models primarily to understudied inscriptional evidence, in order to explore the social and ideological contexts in which early Christian groups first came into being.
8) I suggest, by contrast, that our understanding of " Cambridge and the Alps" may be illuminated not by an absence of marks on other maps but by the graphic particularities and thicknesses of period mappings of the Pass, as well as by the inscriptional engagements these mappings elicited from their users.
98) 'The obelisk is Hadrian's most magnificent monument in the Egyptian style, with its Egyptian hieroglyphics cut in rather free Roman elaboration of traditional patterns and its inscriptional texts apparently translated from a Greek original.
Finally, a fully articulated curving limestone entablature ran the length of the portico, with architrave and high inscriptional frieze.
Somaesthetics" has the advantage of giving the a a real semantic function through its use in "soma," while at the same time keeping the inscriptional visuality and pronunciation of "aesthetics" within its longer lexical frame--which also helps to revive the field of aesthetics by highlighting the vital bodily dimension of creating, perceiving, and appreciating things of beauty and art.
The title of Typography Papers is misleading, since its interests range far beyond the worlds of typography and type design to encompass letterforms of all kinds--whether calligraphic, inscriptional, mechanical, or electronic--and their uses.
O'Connell, another founder of the group, creates tablets of inscriptional lettering.
Csikszentmihalyi argues that the text of the Liming is probably an inscriptional composition originally placed on a four faced image of the Yellow Emperor.
Testa divides "re-creation" into five types: homological or allusive re-creations; inscriptional or epigraphic kinds, which incorporate material from the literary original; coextensive re-creations; mediated re-creations; hypertextual re-creations, which rework a number of texts by the same author.