Tabula Rosettana (original) (raw)
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In this assignment you will learn about the languages and writing systems of ancient Egypt. By focusing on named individuals and gods in the Rosetta Stone and other texts, you will recreate key discoveries that eventually led to Champollion's decipherment of ancient Egyptian.
The Digital Rosetta Stone Project
R. Lucarelli, J.A. Roberson, S. Vinson (eds.), Ancient Egypt, New Technology. The Present and Future of Computer Visualization, Virtual Reality and Other Digital Humanities in Egyptology, 2023
The goal of this contribution is to present The Digital Rosetta Stone, which is a project developed at Leipzig University by the Chair of Digital Humanities and the Egyptological Institute/Egyptian Museum Georg Steindorff in collaboration with the British Museum and the Digital Epigraphy and Archaeology Project at the University of Florida. The aims of the project are to produce a collaborative digital edition of the Rosetta Stone, address standardization and customization issues for the scholarly community, create data that can be used by students to understand the language and content of the document, and produce a high-resolution 3D model of the stone. First, the three versions of the text were transcribed and encoded in xml according to the EpiDoc guidelines. Next, the versions were aligned with the Ugarit iAligner tool that supports the alignment of ancient texts with modern languages, such as English and German. All three texts were then parsed syntactically and morphologically through Treebank annotation. Finally, the project explored new 3D-digitization techniques of the Rosetta Stone in the British Museum in order to enhance traditional archaeological methods and facilitate the study of the artifact. The results of this work were used in different courses in Digital Humanities, Digital Philology, and Egyptology.
Teaching the Digital Roman de la Rose
What difference do digital versions of medieval literary works make to the way we teach them? A short answer might be “all the difference in the world,” since digital re-representations radically alter our conception of the nature of these works. Among other things, the multi-media manuscript— a unique production by one or more artisans— allows us to explore the issue of “authorial agency” in a context where literary texts are transmitted by writers and artists who collaborate in producing a version of a work long after the death of the first author(s), and in the absence of an original holograph copy. The use of digital technology in teaching the Rose depends on the latter’s place in the syllabus. The great thing about digital images of Rose manuscripts is the ease with which they can be adapted to a wide variety of teaching situations. We have almost two hundred versions of the work available in repositories like the Digital Library of Medieval Manuscripts hosted by the Sheridan Libraries at Johns Hopkins University (www.romandelarose.org), and since the site is available day and night to anyone with Internet access, viewing high-resolution images of scores of Rose manuscripts is instantaneous and assured. That already makes a huge change from the days when professors had to make special arrangements for their students to view a manuscript, which could only be done if their institution owned the codex, or if the class visited a nearby rare book repository. Even then, students themselves would not be able to page through the manuscript, let alone obtain a close-up view of a folio, or a miniature painting, or examine marginal decorations, or linger over the droll or grotesque drawings on the side or bottom margins of folios. But since the continuous availability of digital re-representations of Rose manuscripts allows students to do all of the above, and more, the issue is not whether students can access this material, but how to use the resource most effectively in teaching. While recognizing that instructors will undoubtedly have their own particular preferences, in this essay, the author will envision a number of teaching scenarios—primarily undergraduate—by way of suggesting how the introduction of digital Rose material may offer students a richer, more meaningful engagement with this extraordinary work. The “use cases” will be adapted to a variety of course configurations, from survey courses where the Rose will be addressed in as few as two sessions, all the way to something along the lines of a senior seminar with the leisure to spend several weeks or more on the text. In the case of advanced seminars (undergraduate or graduate) that plan to devote an entire semester to this work, the author will propose a variety of approaches for integrating the digital corpus in the classroom. Finally, the essay will discuss use of digital Rose manuscripts for introducing students to medieval French and for learning to read the manuscripts.
Book Review of Derek Krueger, Robert S. Nelson, (eds. 2016), The New Testament in Byzantium., 2019