From hieroglyphics to Isotype: a visual autobiography (Otto Neurath)

Otto Neurath (1882–1945) wrote From hieroglyphics to Isotype during the last two years of his life and this is the first publication of the text in full, carefully edited from the original manuscripts. He called it a 'visual autobiography', in which he documents the importance of visual material to him from his earliest years to his professional activity with the picture language of Isotype. Neurath draws clear links between the stimulus he received as a boy from illustrated books, toys and exhibitions to the considered work in visual education that occupied him for the last two decades of his life. This engaging and informal account gives a rich picture of Central European culture around the turn of the twentieth century, seen through the eyes of Neurath's insatiable intelligence, as well as a detailed exposition of the technique of Isotype, a milestone of modern graphic design. This edition includes the numerous illustrations intended by Neurath to accompany his text, and is completed by an extensive appendix showing examples from the rich variety of graphic material that he collected.

A primer of Mayan hieroglyphics,

Mode of access: Internet.

A historical view of the Hindu astronomy, from the earliest dawn of that science in India to the present time. In two parts. Part I. The ancient astronomy. Part II. The modern astronomy, with an explanation of the apparent cause of its introduction, and the various impositions that followed. To which are added, I. Hindu tables of equations. II. Remarks on the Chinese astronomy. III. Translations of certain hieroglyphics, called the Zodiacs of Dendera.

Mode of access: Internet.

Rudiments of a vocabulary of Egyptian hieroglyphics.

Mode of access: Internet.

The chapters of Coming forth by day : the Egyptian text according to the Theban recension in hieroglyphic edited from numerous papyri, with a translation, vocabulary, etc. /

pt. 1. Egyptian text in hieroglyphics.--pt.2. Vocabulary.--pt. 3. Translation.

Lettre à Mr. Charles Coquerel, sur le systême hiéroglyphique de Mr. Champollion : considéré dans ses rapports avec l'Écriture Sainte /

Includes bibliographical references.

From images to signs: Cretan Hieroglyphic and Linear A in context

This dissertation adopts a multidisciplinary approach to investigate graphical and formal features of Cretan Hieroglyphic and Linear A. Drawing on theories which understand inscribed artefacts as an interplay of materials, iconography, and texts, I combine archaeological and philological considerations with statistical and experimental observations. The work is formulated on three key-questions. The first deals with the origins of Cretan Hieroglyphic. After providing a fresh view on Prepalatial seals chronology, I identify a number of forerunners of Hieroglyphic signs in iconographic motifs attested among the Prepalatial glyptic and material culture. I further identified a specific style-group, i.e., the ‘Border and Leaf Complex’, as the decisive step towards the emergence of the Hieroglyphic graphic repertoire. The second deals with the interweaving of formal, iconographical, and epigraphic features of Hieroglyphic seals with the sequences they bear and the contexts of their usage. By means of two Correspondence Analyses, I showed that the iconography on seals in some materials and shapes is closer to Cretan Hieroglyphics, than that on the other ones. Through two Social Network Analyses, I showed that Hieroglyphic impressions, especially at Knossos, follow a precise sealing pattern due to their shapes and sequences. Furthermore, prisms with a high number of inscribed faces adhere to formal features of jasper ones. Finally, through experimental engravings, I showed differences in cutting rates among materials, as well as the efficiency of abrasives and tools unearthed within the Quartier Mu. The third question concerns overlaps in chronology, findspots and signaries between Cretan Hieroglyphic and Linear A. I discussed all possible earliest instances of both scripts and argued for some items datable to the MM I-IIA period. I further provide an insight into the Hieroglyphic-Linear A dubitanda and criteria for their interpretation. Finally, I suggest four different patterns in the creation and diversification of the two signaries.