British Museum Research Publications

NAUKRATIS ÖZELİNDE KOLONİZASYON KAVRAMI : (1-4)
NAUKRATIS : (5-6)
NAUKRATIS'İN YENİDEN KEŞFİ (PETRIE-GARDNER DÖNEMLERİ) : (7-12)
NAUKRATIS'İN PLANLARI (PETRIE DÖNEMİ) : (13-14)
NAUKRATIS'İN PLANLARI (GARDNER DÖNEMİ) : (15-16)
NAUKRATIS'İN YENİDEN KEŞFİ (HOGARTH DÖNEMİ) : (17-18)
NAUKRATIS'İN PLANLARI (HOGARTH DÖNEMİ) : (19)
NAUKRATIS'İN PETRIE-GARDNER-HOGARTH SONRASI DÖNEMLERİ : (20-26)
NAUKRATIS'İN MISIR İZLERİ VE BÜYÜK TEMENOS : (27-28)
NAUKRATIS'İN MİMARİSİ : (29)
NAUKRATIS BULUNTULARI : (30-39)
SONUÇ : (40)
KAYNAKÇA : (41)

A percepção dos diálogos que o museu estabelece com o seu contexto, nos leva a afirmar que a curadoria inovadora do Museu da Acrópole se estabelece como uma poética capaz de atribuir novos sentidos e lançar novos olhares sobre a Acrópole e suas obras de arte, sobre o passado e o presente da cidade de Atenas. Ao mesmo tempo, a curadoria propõe a construção de novas narrativas, em vista das Esculturas do Partenon que estariam ausentes, vislumbrando sua reunificação no futuro.
Palavras-chave. Esculturas do Partenon, Arte Grega, Curadoria de Arte, Fídias, Acrópole.


The perception of the dialogue that the Acropolis Museum establishes with its context leads us to affirm that its innovative curation is established as a poetic able to assign new meanings and launch new views of the Acropolis and its works of art, of the past and the present of the city of Athens. At the same time, the curator proposes the construction of new narratives, in view of the Parthenon sculptures that are absent, planning its future reunification.

Until recently, Mandaic incantations were known only from lead rolls, earthenware bowls, or paper. The existence of an incantation incised on a gold sheet is a novelty. The amulet itself is a tiny sheet inscribed in a varying Mandaic script on both sides with an incantation against infertility, and against problems during pregnancy and birth, a topic of relevance hardly ever attested in Aramaic incantation texts of Late Antiquity. Of further interest is the occurrence of a here former unknown minor Iranian deity, Sadya, among well-known Mesopotamiandeities like Nabu, Nirig (Nergal), and Nanay, which are employed in the incantation formula to ban the evil elements

A large Mandaic magic bowl from the Yale Babylonian Collection is re-edited here, since the discovery of a parallel Mandaic formula on a lead amulet in the Department of Western Asiatic An-tiquities of the British Museum sheds new light on many passages. The present article offers new readings and interpretationsof the inscription with its intriguing story of a demoness of infertility, one Bguzan-Lilit, who not only endangers the life of the children of the house but also wreaks havoc on the whole premises. The most unusual feature of the incantation is that the succubus-Lilit replaces the woman of the house.

From coin collector to numismatist " The British Museum and the future of UK numismatics " is an interesting read of the change in direction of the coin and medals department since its inception. It acknowledges that in the modern world and by implementing UNESCO 1970 that increasing the collection base is going to be difficult and with the digital sharing of resources by institutions maybe is no longer a priority. The Portable Antiquity Scheme and detectorists do get a reasonably positive mention but other sources (illegally dug), do not. But where would be numismatics be without the other source? The BM and other institutions mine auction catalogues for information and do not decry the melting down of " graven images " of unbelievers by extremists and other forms of iconoclasm which collectors rescue from oblivion. The antique world is under greater threat in its " cradles of civilisation " in the modern world than ever before and the " other source " , which is not perfect, maybe its only chance. Nor is acknowledged the work that is done by the amateur numismatists on such " other sources ". Not only are we collectors but some of us try to add to the knowledge base by studying and publishing our coins and maybe doing some amateur sleuthing. Professional numismatists have a large canvas to fill with much lacunae and maybe they need help from amateurs but I think the BM does not acknowledge it because of an " us and them " class attitude to us plebs sordida. It cannot " square the circle " of the schizophrenic nature of the coin world where the majority of its foreign holdings are essentially " black " in nature unchanged by the pre-1970 whitewashing. Indeed its " other source " coins collected between 1970 and 2014 must have caused them much angst until an official curatorial amnesia was declared. Below is a post I wrote on my coin collecting activities and how in searching for a meaningful focus I think I have contributed " on the shoulders of others " to the understanding and chronological arrangement of the New Style coinage of the Rome-Pontic times.

We present a brief report of the Brazilian Committee for the Reunification of the Parthenon Sculptures (Comitê Brasileiro para Reunificação das Esculturas do Partenon), and
then we would like to propose some actions in academic and artistic sphere, which we think should contribute to empower the international “unify the Parthenon” campaign and, in the same movement, strengthen the Third International Colloquy for the Return of the Parthenon Sculptures to Athens, and all the future events.

Das British Museum beherbergt eine Sammlung von 143 Zauberschalen, die keineswegs zu den größten öffentlichen Sammlungen zählt. Das University of Pennsylvania Museum verzeichnet 260 Objekte, deren Schwestersammlung, die Frau Professor Hilprecht-Sammlung, Jena 69 Schalen. Im Vorderasiatischen Museum Berlin sind ca. 161 Nummern registriert. Die Schalen des Baghdad Museum/Iraq gehen in die Hunderte, doch liegen über den genauen Umfang mir keine exakteren Daten vor. Recht bescheiden ist die Kollektion des Louvre mit 22 Exemplaren, wie anscheinend auch die des Istanbuler Museums mit ca. 20, oder des Oriental Institute Museum Chicago mit 30 aufbewahrten Schalen. Auch existieren zahlreiche kleine öffentliche Sammlungen, insbesondere in den Vereinigten Staaten. Was die Sammlung des British Museum jedoch neben der Baghdad-Sammlung attraktiver macht, ist, daß hier diverses Textmaterial unterschiedlicher Provenienz vorliegt, das wenigstens teilweise aus gesicherten Grabungen stammt oder mit zuverlässigeren Funddaten aufwarten kann. Die Sammlungen in Philadelphia, Jena, Istanbul und Chicago beschränken sich vorwiegend auf einen Fundort, das zentralbabylonische Nippur. Berlin hingegen besteht aus einer Ankaufsammlung mit ca. 61 Exemplaren, der Rest ist Teil der Babylon-Borsippa Kollektion. Innerhalb der Bristish Museum Kollektion existiert eine größere Gruppe, die bereits in den achtziger Jahren des 19. Jahrhunderts registriert wurde, aber nicht weiter zugeordnet werden konnte. Ihr Inhalt legt nahe, daß sie aus Kutha stammen. Sicher zu Kutha zu zählen sind mandäische Schalen der Rassam Grabung mit dem Archiv des Abdrahman bar Mišoy und der Bašniday bat Šahafrid. Das British Museum besitzt dazu eine beachtliche Sammlung von mandäischen Metallamuletten, die textliche Überschneidungen mit Zauberschalen aufweisen. Die Rezensentin hatte Gelegenheit, parallel zur Aufnahme der mandäischen Bleirollen auch die Schalen-Kollektion des British Museum kursorisch zu studieren.

Generally incantation bowls are written in a formal standardized literary Eastern Aramaic or less frequently in a ”koiné” of Southern Babylonian Aramaic. The present article treats a magic bowl that is written in an idiom that is related to Talmudic Aramaic. Although the term Talmudic Aramaic has been used indiscriminately in several studies to describe the language of incantation bowls, the only attested evidence for this dialect in a bowl written in Aramaic square characters is the one British Museum bowl, BM 135563 (1971-2-29,1) presented here. The text has a strong parallel in a late copy of a Mandaic incantation series Shafta ḏ Pishra ḏ Ainia which is also reminiscent of a passage in the incantation series Maqlû.

Generally incantation bowls are written in a formal standardized literary Eastern Aramaic or less frequently in a ”koiné” of Southern Babylonian Aramaic. The present article treats a magic bowl that is written in an idiom that is related to Talmudic Aramaic. Although the term Talmudic Aramaic has been used indiscriminately in several studies to describe the language of incantation bowls, the only attested evidence for this dialect in a bowl written in Aramaic square characters is the one British Museum bowl, BM 135563 (1971-2-29,1) presented here. The text has a strong parallel in a late copy of a Mandaic incantation series Shafta ḏ Pishra ḏ Ainia which is also reminiscent of a passage in the incantation series Maqlû.