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This article investigates the boundaries of the chronological-cultural unit of ‘Early Greece’, a phrase widely used in scholarship but which has little taxonomic meaning. I argue that the phrase, and the values that it encodes, continues to exist in a traditional evolutionary framework of cultural development within the Greek world. Through a bibliographical case study, I further demonstrate that there are different chronological understandings of ‘Early Greece’ within different subdisciplines, with material-based scholarship applying it predominantly to the Early Iron Age and text-based scholarship predominantly to the Archaic period. Following this, the article connects ‘Early Greece’ with protohistory, particularly through the lens of Homer references, and explores the ways in which the positionality of ‘Early Greece’ emphasizes the authority of textual sources over material ones and continues to articulate an under-defined vision of Greece centred on the fifth century BCE.
Hieratic was the most widely used script in ancient Egypt, but is today relatively unknown outside Egyptology. Generally written with ink and a brush, it was the script of choice for most genres of text, in contrast to hieroglyphs which was effectively a monumental script. The surviving papyri, ostraca and writing boards attest to the central role of hieratic in Egyptian written culture, and suggest that the majority of literate people were first (and not infrequently only) trained in the cursive script. This Element traces the long history of hieratic from its decipherment in the nineteenth century back to its origins around 2500 BC, and explores its development over time, the different factors influencing its appearance, and the way it was taught and used.
John Malalas had access to an expanded version of the chronicle of Eusebius, which included also a different Christian era (probably AM 5967). Most of the fragments cannot be traced back to Eusebius, and add material drawn from other works of Eusebius, Latin literature and from the Book of Jubilees.
This book began with a set of propositions about how the ancient Greek religious system worked, particularly in relation to divine manifestation. I set out to explore how technology featured and functioned with(in) those propositions which mediated between human and supernatural realms. Including the mechanical in the discourse on divine epiphany and religious experience is not intuitive. Karel Čapek’s satiric vision of a machine that creates practically free energy but spurts out a numinous by-product known as the Absolute is both very relevant and utterly alien to the ancient context. It is alien in that Čapek’s novel is focalised through (relatively) modern preconceptions of technology and religion as antithetical. The protagonist’s invention is strictly a machine of science fiction. That a sense of the numinous might be created by mechanical technology is entertained in the story as imaginatively (and metaphorically) compelling but remains impossible in practical terms.