- Author: Michel Dewachter
- Publisher: Éditions Gallimard (Volume 96 in the Découvertes Gallimard collection)
- Publication Date: November 23, 1990
Jean-François Champollion | |
|---|---|
 Portrait by Léon Cogniet, 1831 | |
| Born | 23 December 1790 Figeac, France |
| Died | 4 March 1832 (aged 41) Paris, France |
| Education | Collège de France Institut national des langues et civilisations orientales |
| Known for | Decipherment of Egyptian hieroglyphs |
| Spouse | Rosine Blanc (m. 1818) |
| Children | 1 |
| Relatives | Jacques Joseph Champollion-Figeac (brother) |
| Scientific career | |
| Fields | Egyptian hieroglyphs |
Jean-François Champollion (French: [ʒɑ̃ fʁɑ̃swa ʃɑ̃pɔljɔ̃]), also known as Champollion le jeune ('the Younger'; 23 December 1790 – 4 March 1832), was a French philologist and orientalist, known primarily as the decipherer of Egyptian hieroglyphs and a founding figure in the field of Egyptology. Partially raised by his brother, the scholar Jacques Joseph Champollion-Figeac, Champollion was a child prodigy in philology, giving his first public paper on the decipherment of Demotic in his late teens. As a young man he was renowned in scientific circles, and read Coptic, Ancient Greek, Latin, Hebrew and Arabic.
During the early 19th century, French culture experienced a period of 'Egyptomania', brought on by Napoleon's discoveries in Egypt during his campaign there (1798–1801), which also brought to light the trilingual Rosetta Stone. Scholars debated the age of Egyptian civilization and the function and nature of the hieroglyphic script, which language if any it recorded, and the degree to which the signs were phonetic (representing speech sounds) or ideographic (recording semantic concepts directly). Many thought that the script was used only for sacred and ritual functions, and that as such it was unlikely to be decipherable since it was tied to esoteric and philosophical ideas, and did not record historical information. The significance of Champollion's decipherment was that he showed these assumptions to be wrong, and made it possible to begin to retrieve many kinds of information recorded by the ancient Egyptians.
Champollion lived in a period of political turmoil in France, which continuously threatened to disrupt his research in various ways. During the Napoleonic Wars, he was able to avoid conscription, but his Napoleonic allegiances meant that he was considered suspect by the subsequent Royalist regime. His own actions, sometimes brash and reckless, did not help his case. His relations with important political and scientific figures of the time, such as Joseph Fourier and Silvestre de Sacy, helped him, although in some periods he lived exiled from the scientific community.
Obelisk: A HistoryThe many meanings of obelisks across nearly forty centuries, from Ancient Egypt (which invented them) to twentieth-century America (which put them in Hollywood epics). Nearly every empire worthy of the name—from ancient Rome to the United States—has sought an Egyptian obelisk to place in the center of a ceremonial space. Obelisks—giant standing stones, invented in Ancient Egypt as sacred objects—serve no practical purpose. For much of their history their inscriptions, in Egyptian hieroglyphics, were completely inscrutable. Yet over the centuries dozens of obelisks have made the voyage from Egypt to Rome, Constantinople, and Florence; to Paris, London, and New York. New obelisks and even obelisk-shaped buildings rose as well—the Washington Monument being a noted example. Obelisks, everyone seems to sense, connote some very special sort of power. This beautifully illustrated book traces the fate and many meanings of obelisks across nearly forty centuries—what they meant to the Egyptians, and how other cultures have borrowed, interpreted, understood, and misunderstood them through the years. In each culture obelisks have taken on new meanings and associations. To the Egyptians, the obelisk was the symbol of a pharaoh's right to rule and connection to the divine. In ancient Rome, obelisks were the embodiment of Rome's coming of age as an empire. To nineteenth-century New Yorkers, the obelisk in Central Park stood for their country's rejection of the trappings of empire just as it was itself beginning to acquire imperial power. And to a twentieth-century reader of Freud, the obelisk had anatomical and psychological connotations. The history of obelisks is a story of technical achievement, imperial conquest, Christian piety and triumphalism, egotism, scholarly brilliance, political hubris, bigoted nationalism, democratic self-assurance, Modernist austerity, and Hollywood kitsch—in short, the story of Western civilization. |
沒有留言:
張貼留言