Neue Inschriften aus dem Museum von Eskişehir

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Eskişehir Müzesi’ndeki Eski Yunanca ve Latince yayımlanmamış yazıtlar üzerinde yıllardır çalış­malar yürütmekteyiz. Bu makalede müzede kaydettiğimiz 43 yeni yazıtı tanıtmaktayız. Yazıtların 38 tanesi mezar yazıtıdır. Bir tanesi olasılıkla bir adak yazıtıdır (no. 15). Bir adet yüzük üzerinde bir yazıt vardır (no. 40). Son üç eser ise yazılı mühürlerden oluşmaktadır (no. 41-43). Mühürler zamanında ekmek mühürü olarak kullanılmıştır. Mezar yazıtlarından iki tanesi epigramdır (no. 33-34). Mezar yazıtlarının steller, altarlar veya sütunlar üzerine yazılmış olduğu görülmektedir. Eserler Eskişehir teritoryumunda bulunmuştur ancak birçoğunun tam buluntu yeri bilinme­mektedir. Eserler çoğunlukla İS 2./3. ile 4./6. yüzyıllara aittir. Ekmek mühürlerinden ilk ikisi oldukça geç bir dönemden, olasılıkla İS 11. yy’dan gelmektedir. Yazıtların çevirileri şöyledir:1. Ben Maximus’un oğlu, vatanı için tüm arkhe ve parapompe görevlerini tamamlamış olan bouleutes Marcus Aurelius Iulianus, artık (bu zamandan sonra) yaşlı bir kimse olarak eşim Theodora ile birlikte burada yatmaktayım. Bedbaht bir fani olmamak için yaşarken hayatın tadını çıkar!2. Bu (mezarı) Italicus oğlu Aur(elius) Amianus ve Demetrios oğlu Demetrios, Appas oğlu Appas, Demetrios oğlu Dionysios ve Teuthras oğlu Akmazon yaşarlarken kendileri için yaptırdılar.3. Epiktetos sütkardeşi Trophimas ile beraber anneleri Gallene’nin anısı nedeniyle (bu mezarı yaptırdılar).4. Eren(n)ius karısı Fla(v)ia’nın anısı nedeniyle (bu mezarı yaptırdı).5. Gaius’un oğlu Agrippas karısı Apphia için şefkat dolu sevgisi nedeniyle (bu mezarı yaptırdı).6. Eru(c)cius Antipatros ve Cor(nelia) Flaviane ve kızları Theophile sütanneleri Kimre’nin anısı nedeniyle (bu mezarı yaptırdılar).7. Paideros’un çocukları Aurelia Servilia ve Aurelius Paideros biricik anneleri Iulia için - - - - Corne(lius?)’la beraber (anısı nedeniyle bu mezar taşını yaptırdılar.)8. Oğlu Hermogenes ve torunları Ladike’ye anısı nedeniyle (son) saygılarını sundular.9. Karısı İode, kardeşi Mommon ve oğulları Seleukos ile Antikrates Theophilos’a anısı nedeniyle (son) saygılarını sundular.10. Gaizatoris ve Seleukos ve Phoinikea İode’ye anısı nedeniyle (son) saygılarını sundular.11. Annesi Tertia genç ölen oğlu Teuthras için, Apollonides ve Hermesileon da biricik kardeşleri için anısı nedeniyle (bu mezarı yaptırdılar).12. Bakıcıları (bakıcı ailesi) Kallistratos ve Beronike ve annesi Thallousa 12 sene yaşayan çok değerli Agathemeris için anısı nedeniyle (bu mezarı yaptırdılar).13. Hermon ve Onesimos babaları Agathemeros için anısı nedeniyle (bu mezarı yaptırdılar).14. Biz Aur(elius) Nounas ve Aur(elia) Domna kızımız Ammia için anısı nedeniyle (bu mezarı) yaptırdık.15. Beronikos’un oğlu Aur(elius) Athenodoros karısı Syntrophos’un kızı Nike ile beraber - - - - -16. Lucilla kendi kızı Theodoule için - - - - -17. Kocası Menandros ve (çocukları?) Lucius, Marcus, Gaius, Titus, Akka - - - - Tertia’ya (anısı nedeniyle son) saygılarını sundular.18. Aurelius Hilaros ve Aurelia Iulia biricik kızları - -lia’ya anısı nedeniyle (bu mezarı yaptırdılar).19. Aleksandros’un oğlu Paideros karısı Semne’nin anısı nedeniyle (bu mezarı yaptırdı).20. 24 yıl yaşamış olan Tiberius Iulius Graptus.21. - - - ve Manes ebeveynleri için - - - -22. Komisyoncu/simsar Dionas kendi karısı Khreste için (bu mezarı yaptırdı).23. Aurelia Mania kocası Manes ve erken yaşta ölen çocukları Polykhronios, Phosphoros ve Karikos için anıları vesilesiyle (bu mezarı yaptırdı).24. İmparator Traianus Hadrianus Augustus Kaisar’ın kulu, ev kölesi Areidaios eşi - - -mos’un kızı Flavia Euhemeria’nın anısı nedeniyle (bu mezarı yaptırdı).25. Oğulları Antonius ve Pompeius (babaları) Gaius’un hatırası nedeniyle (ona son) saygılarını sundular.26. Aleksandros ve Apphe oğulları, Apollonios ve Apphia kardeşleri, karısı Mania (ise kocası) Menotenes’in hatırası nedeniyle (bu mezarı yaptırdılar).27. Çocukları Nikias, Demetrios, Nana, Antiokhos - - - - (babaları) Antiokhos’un hatırası nedeniyle (ona son) saygılarını sundular.28. Henüz konuşmaya başlamamış olan Doretos burada yatyor. Amarantos ve Dorete oğulları ve kendileri için anneleri Eirene ile birlikte (çocuğun) hatırası nedeniyle (bu mezarı yaptırdılar).29. G(aius) Iulius Timianos Polemon nişanlı kuzeni Cl(audia) Themisto için (anısı nedeniyle bu mezarı yaptırdı).30. Kardeşleri Antonius ve Petronius ve kızkardeşi Lala ve annesi Nysa Aribazos’a hatırası nedeniyle (bu mezarı) yaptırdılar.31. - -ros ve karısı Magna tek çocukları Nounas’ın anısı nedeniyle (bu mezarı yaptırdılar).32. Markion’un kızı Markia ve Damas’ın mirasçıları - - - - -33. Olasılıkla bir erkek çocuğuna ait fragman şeklindeki mezar şiiri. Yazıda anlamlı bir bütünlük yoktur.34. Tanrının diakon’u (din görevlisi), ve bir at doktoru yatıyor burada, yaşlı bir kimse olarak, bırakıp evde üç oğlunu, kızını ve hayat arkadaşını. Gördüğün gibi yazdılar bu yazıyı küçük harflerle, pek bilge babaları Abaskantos için ve yaptılar ona bu mezarı.35. Diakon (din görevlisi) Theodoulos’un dindar kızı Amia burada yatıyor.36. Burada Orthodoks Hıristiyanların kilisesine ait mezar kazıcılarının başı (protodekanos) ve tüccar olan Stephanos’un karısı Maria yatıyor.37. Burada Trophimos’un oğlu Korynthos yatıyor. Yazıtın altındaki ligatür şeklindeki omikron ve ypsilon’dan oluşan kısaltma belki şöyle anlaşılmalıdır: (Tanrı)nın?38. Burada Anastasios’un oğlu kutsal metin okuyucusu (anagnostes) Eusebis yatıyor.39. Kyriakos’un oğulları Onesimos ve Asterios’un mezarı.40. Solomon’(un yüzüğü).41. Baskı yüzündeki yazıt: Kurtar bizi ey Efendi! Tutamak çevresindeki yazıt tam okunamıyor.42. Tanrı’nın koruması (himayesi). 43. Anthimos.

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  • Sep 30, 2004
  • Petra M Sijpesteijn

Tens of thousands of documents dating form the late Byzantine and early Islamic periods have been found in Egypt. These texts, written on papyrus and a variety of other materials, in Greek, Coptic Egyptian, and Arabic, offer a unique, but underutilized resource for the study of a society experiencing a profound transformation, this volume collects papers given at the conference Documentary Evidence and the History of Early Islamic Egypt, including editions of previously unpublished Greek, Coptic, and Arabic documents, historical and linguistic studies which make use of documentary evidence, a discussion of the importance of Arabic literary papyri, and an introduction to papyrology and its relevance for the study of this period of Egyptian history. For more titles about Papyrology, please click here.

  • Research Article
  • 10.1353/cat.2002.0062
Veiled Women (review)
  • Apr 1, 2002
  • The Catholic Historical Review
  • Lisa M Bitel

Veiled Women. Volume I: The Disappearance of Nuns from Anglo-Saxon England; Volume II: Female Religious Communities in England, 871-1066. By Sarah Foot. [Studies in Early Medieval Britain, 1. (Burlington, Vermont: Ashgate. 2000. Pp. xvii, 228; xii, 274. $79.95 each volume.) Sarah Foot's survey of Anglo-Saxon religious women includes a volume that analyzes their historical (or historiographical) disappearance after 800 and a second volume that offers an extremely valuable repertory of women's communities. Aimed at an audience of informed but not specialist readers, Foot's project purports to provide the first convincing explanation for the evanescence of so many of the institutions of female religion in the early Middle Ages (p. vii). Foot has selected an appropriate readership, for her argument does not contain much that is new for historians of Christian women. Her explanation of changes in religious communities is not entirely convincing either, but her method with the English sources may be instructive to Continental historians. As Foot points out, sources for the study of English nuns are scanty, especially for the reform period (late Anglo-Saxon period) of 900-1066. Bede, the vita of Leoba, other Bonifacian material, the Mildrith legend, and council and charter evidence record the vibrant spiritual life of religious women in the seventh and eighth centuries. But the few, famous double-houses of male and female religious run by royal women eventually declined with the political dynasties that founded them. Historians from Dugdale onward have tended to use these famous early minsters and their documents as models for later religious communities; scholars have judged the success of later religious foundations by comparison with these pre-Viking houses. The charters and other texts of ninth-century and later England focus on powerful and well-funded houses, normally of men; so historians have concluded that religious women disappeared in the ninth century. While women's houses seem to have resurfaced after the Norman conquest, scholars have found little continuity in the history of women's communities before and after the Viking invasions and religious reforms of the tenth century. Foot argues that religious women continued to create communities between the ninth and eleventh centuries, but that we have failed to see them in the sources. She calls for renewed scrutiny of the vocabulary of religious life and for a new look at a variety of documents. Cloistered communities of women did not attract royal support or endowment in the tenth and eleventh centuries. Women's communities did not appear in documents recording property transactions, nor did communities have the wealth to generate charters of their own. In addition, women's religious communities were not always identified as such in the texts; sometimes writers identified religious foundations as monasteria, mynsters without specifying the gender of inhabitants. In addition, religious women lived on what historians have taken for secular estates, rendering them invisible to scholars searching for nunneries. Most important, Foot argues, women in Anglo-Saxon England practiced religion in fluid and diverse modes of expression (p. …

  • Research Article
  • 10.1353/cri.2019.0008
Jade Mountains and Cinnabar Pools: The History of Travel Literature in Imperial China by James M. Hargett
  • Jan 1, 2019
  • China Review International
  • Kai-Wing Chow

Reviewed by: Jade Mountains and Cinnabar Pools: The History of Travel Literature in Imperial China by James M. Hargett Kai-wing Chow (bio) James M. Hargett. Jade Mountains and Cinnabar Pools: The History of Travel Literature in Imperial China. Seattle: University of Washington Press, 2018. xviii, 258 pp. Hardcover, $95.00, isbn 978-0-295-74446-9. Paperback, $30.00, isbn 978-0-295-74447-6. This book offers a broad survey of "Chinese travel literature" from the Six Dynasties through the late Ming period. The author primarily takes a literary approach to the subject, striving to delineate youji as a genre and tracing its path of development. Based on Northrop Frye's theory of literary genre, Hargett opts for a "dynamic or open-ended conception of genre" formulated by Dirk de Geest and Hendrik van Corp. The author argues that the genre does have "some general identifiable traits regarding form and content" (p. 12). Through tracking the "affinities" of disparate writings, he argues that "all youji literature contains a coherent and indispensable narrative of the physical experience of a journey through space toward an identifiable place, written in prose" (p. 13). Hargett's definition singles out three defining features of "Chinese travel literature": (1) a first-person account, (2) a real journey across space, and (3) a prose literary style. Following these three threads, Hargett traces the origins of the various generic features of "Chinese travel literature," youji, to the Six Dynasties and argues that its features attained "articulation" in the Tang dynasty, reaching maturity in the Song dynasty. Finally, the production of youji entered the golden age in the middle and later years of the Ming dynasty. He criticizes modern Chinese scholarship on travel literature for adopting a static [End Page 74] approach to genre. Scholars regard travel literature invariably as writings about "appreciating landscape." But for Hargett, development of travel literature in imperial China was dynamic, undergoing changes in both its form and contents. The book has five chapters and a postface. In chapter 1, Hargett begins to identify a number of "key elements" that define the genre of travel writings, youji. His discussion covers a few different genres: rhapsodies, letters, preface, accounts (ji), including those by Buddhists like Faxian, and the Commentary on the Waterways Treatise by Li Daoyuan. The key elements Hargett has identified in letters and rhapsodies of the Han period include "real journeys and real places in a literary and lyrical way" (p. 24), "travel narration and landscape appreciation, and expression of personal sentiments" (p. 26), as well as "scenic description-author comment" structure (pp. 28-30). Appearing in different literary genres and variegated modes of language, these features of youji, however, had not coalesced in the works of later prototypes. This variety of writing excepting a preface by Huiyuan, though containing "various traits," was not qualified to be considered the prototype youji. Chapter 2 examines two significant developments in travel literature in the Tang dynasty, which, the author argues, were critical for youji to become an independent genre in the mid-Tang. First, it was in the Choice Blossoms from the Garden of Literature that ji became an independent literary genre. And second, during the late eighth and early ninth centuries, "the ji form evolved into a new type of descriptive prose about place" (p. 58). The genre of ji writings by Liu Zongyuan such as the "Eight Accounts" emphasizes "the physical movement of the author and by extension, the reader through a landscape" (p. 82). One significant innovation of Liu and Yuan Jie, another Tang author, was that they composed "sight-seeing-landscape ji in which emotion is drawn from scene" (p. 85). In chapter 3 Hargett argues that the youji genre reached its maturity in the Northern Song in varieties, forms, and contents. In examining the accounts by Zhang Min, Zhao Buzhi, and Su Shi, he argues that these Song writers no longer expressed their personal emotions or inner conflicts through their writings on landscape, which marks "a major turning point in the history of the genre and functions as a key factor in the maturation process that began in the eleventh century" (p. 101). An entirely new form of...

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