The book links the invention of writing to the inventions of bronze-age technologies. Indus script is claimed to be one of the earliest writing systems of the world dated to c. 3500 BCE. The book claims that Indian language union (sprachbund or Indian linguistic area) dates back to the period when Indus script was used. About 1000 lexemes of Meluhha (mleccha) have been identified and explained in the context of ciphertext of Indian hieroglyphs. These substratum glosses are the foundation for further studies in the evolution of languages and linguistic features absorbed from one another, in Indian language union (sprachbund). Using evidence from almost all hieroglyphs in the 6000 + inscriptions, this book makes a contribution to an understanding of the middle phase in evolution of writing systems, a phase which bridged pictographic writing with syllabic writing to represent sounds of a language called meluhha (mleccha) in Indian language union - lingua franca of Harosheth hagoyim, smithy of nations. The continuum of hieroglyph tradition in Indian linguistic area is evaluated in the context of continued use of Indian hieroglyphs on thousands of punch-marked coins together with syllabic scripts of kharosti and brahmi . The book establishes that ancient India was a language union with speakers of Munda, Dravidian and Indo-Aryan languages learning technical words related to bronze-age metallurgy from one another. They used these words in the writing system. The book draws heavily from a multi-lingual dictionary of over 25 ancient languages called Indian Lexicon for unraveling the cipher of the Indus script, as an exercise in solving a cryptography problem. The writing system was called mlecchita vikalpa (Cryptography of Meluhhas/Mlecchas) and is mentioned in an 8th century BCE work by Vatsyayana. The Indian hieroglyphs find their echoes in the goat-fish hieroglyphs on a ritual basin of Uruk (Sumer) and the Egyptian hieroglyph for Bat showing a mudhif reed symbol which also occurs on Uruk basin. The 'reed' read rebus denotes Glyph: eruva 'reed'. Rebus: eruva 'copper'. Also discussed are some Egyptian hieroglyph parallels from the statue of Hathor-Menkaure-Bat triad of the fourth dynasty and the continued tradition of building reed huts by Todas comparable to the mudhifs of ancient Sumer. This book is a sequel to the author's Indus Script Cipher (2010). http: //tinyurl.com/7dflhyq

Many books over the years have promised to tell the true story of the Native American Indians. Many, however, have been filled with misinformation or derogatory views. Finally here is a book that the Native American can believe in. This well researched book tells the true story of Native American accomplishments, challenges and struggles and is a gold mine for the serious researcher. It includes extensive notes to the text and over 500 photographs and illustrations -- many that have never before been published. The author, after 20 years of research, has attempted to provide the world with the most truthful and accurate portrayal of the Native American Indians. Every serious researcher and Native American family should have this ground-breaking book.

Classic study by truly great figure in hieroglyph research. Still the best introduction for the student. 117 illustrations.

This is a path-breaking work as significant as the decipherment of Egyptian hieroglyphs by Champollion. For nearly130 years, the Indus script has remained a challenging enigma to scholars of languages, writing systems and civilization studies. The script was invented and used over an extensive area of what is called the Indus or Sindhu-Sarasvati civilization. Over 2000 or 80% of archaeological sites are found on the Sarasvati River basin, a river adored in a very old human document called the Rigveda and which dried up due to tectonic and resulting river migration causes. In 1822, history was made when Egyptian hieroglyphs were deciphered by Jean-Francois Champollion from parts of the Rosetta Stone. Champollion showed that the Egyptian writing system, c.3000 BCE was a combination of phonetic and ideographic glyphs. The Rosetta Stone is dated196 BCE and had a decree in three versions: one in ancient Egyptian hieroglyphs, one in the Egyptian demotic script, and one in ancient Greek. Since alphabets of ancient Greek were known, Champollion used the trilingual inscription to validate his historic decipherment. Indus Script Cipher makes history recording hundreds of hieroglyphs of India. Absence of a Rosetta Stone which has been the principal impediment in validating any decryption of Indus script cipher is thus overcome. Further validation comes from evidences of the historical periods in India from c. 600 BCE showing continued use of Indus script hieroglyphs which evolved from c. 3300 BCE. This book details a decipherment.of the Indus script using the same rebus method used by Champollion to read ancient phonetic hieroglyphs of Indiat. By demonstrating an Indian linguistic area of cultural and language contacts and history of language changes, this is a landmark contribution to civilization studies of the world and will promote efforts to rewrite the ancient socio-cultural and economic history of a billion people in India and neighboring regions.

Presents an illustrated reference that covers the history, culture and tribal distribution of North American Indians.

Explores hieroglyphs as a metaphor for the relationship between new media and writing in British modernismIn the British Museum, one object attracts more tourists than any other: the Rosetta Stone. The decipherment of the Stone by Jean-François Champollion and the discovery of King Tutankhamun's tomb in 1922 contributed to creating a worldwide vogue for all things Egyptian. This fascination was shared by early-twentieth-century authors who invoked Egyptian writing to paint a more complicated picture of European interest in non-Western languages. Hieroglyphs can be found everywhere in modernist novels and in discussions of silent film, appearing at moments when writers and theorists seek to understand the similarities or differences between writing and new recording technologies. Hieroglyphic Modernisms explores this conjunction of hieroglyphs and modernist fiction and film, revealing how the challenge of new media spurred a fertile interplay among practitioners of old and new media forms. Showing how novelists and film theorists in the modernist period defined their respective media in relation to each other, the book shifts the focus in modernism from China, poetry, and the avant-garde to Egypt, narrative, and film. Key Features:Argues for the connections among discourses about film, phonography, digital media, and literature in the twentieth century through the recurrent invocations of hieroglyphsShows how novelists and film theorists in the modernist period defined their respective media in relation to each otherShifts the focus in accounts of visual languages in modernism from China, poetry, and the avant-garde to Egypt, narrative, and filmEstablishes a dialogue between Egyptian writers of the 1920s and 30s and canonical British modernists.