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HAL open science, 2024

The 614 Assyrian eponyms between the first year of Šamšî-Adad I and the first year of Tiglath-pileser I (1115-1076) allow us to date the reign of Šamšî-Adad I (1728-1695) approximately. As the Assyrian years were lunar before the reign of Ninurta-apil-Ekur (1192-1179), this makes it possible to slightly correct the reign of Šamšî-Adad I (1712-1680), yet as this Amorite king died in the 17th/18th year of King Hammurabi , so this synchronism fixes the dating of this Babylonian king (1697-1654). This dating does not correspond to the Middle Chronology but, on the other hand, exactly satisfies the astronomical dating of the Ammisaduqa tablet on Venus, according to the Ultra-Low Chronology. In addition, one tablet of astronomical omens (Enuma Anu Enlil 20) mentions a lunar eclipse dated 14 Simanu at the end of the reign of Šulgi (14/III/48, 27 June 1954 BCE), and another (Enuma Anu Enlil 21) mentions a lunar eclipse dated 14 Addaru at the end of the third dynasty Ur, which ended with the reign of Ibbi-Sin (14/XII/24, 6 March 1911 BCE). These two total lunar eclipses are separated by 42 years of reign (= 9 years of Amar-Sin + 9 years of Šu-Sîn + 24 years of Ibbi-Sin) and 9 months (=XII - III). During the period 2200–1850 BCE, there was only one couple of lunar eclipses spaced 42 years and 9 months apart, and visible at Ur, corresponding to the description of the astronomical omens. These two total lunar eclipses confirm the absolute dating of the reign of Hammurabi (1697–1654) and allow to anchor the reign of Sargon of Akkad (2243–2187). Secondly, as there is a synchronism between Neferhotep I (1721-1710) and Ibni-Addu (1700-1680), the king of Hazor, and another synchronism between Ibni-Addu and Hammurabi (1697-1654), the king of Babylon, this reign could be determined indirectly by carbon-14 and is again in perfect agreement with the “Ultra-Low chronology”. Finally, the best confirmation of the accuracy of this absolute chronology is the complete reconstitution from 2040 to 1050 BCE, year by year, of the main Mesopotamian chronologies: Uruk IV, Mari, Gutium, Assyria, Elam, Uruk V, Ur III, Larsa, Isin I, Babylon, Hana, Kassite and Sealand, with their synchronisms as well as their dates anchored on astronomical phenomena such as the total eclipses of the moon (Gertoux, NABU 2021-3, 171-172). https://www.lulu.com/shop/gerard-gertoux/mesopotamian-chronology-2340-539-bce-through-astronomically-dated-synchronisms-vs-c14-dating/paperback/product-zdpgjd.html

Saryarka in the Historical Eurasian Expanse, 2024

This paper reconsiders the archaeological picture and the involved historical narratives proposed by important seasons of excavations at the second-millennium BC site of Kent (Kazakhstan). Thanks to these intensive efforts the site is and will remain crucial for the reconstruction of the evolution of social complexity in Central Asia and the neighbouring civilizations; however, we question the validity of some assumptions and interpretations concerning the urban character of the discoveries. Finally, the paper proposes some new hypotheses which might be tested by future fieldwork.

Electrical Substation Earthing Design, 2024

Electrical Substation Earthing Design

Repositori UJI. Trabajo Fin de Master (TFM) Didáctica de la Música, 2017

RESUMEN En el presente trabajo se hace un análisis del empleo de la improvisación en la enseñanza musical, y más concretamente de los centros educativos de Valencia. Esta investigación tiene como objetivo analizar cuál es la situación real y qué factores influyen en el empleo de ella, así como la búsqueda de posibles soluciones a los problemas existentes. Para ello se realizará una encuesta al profesorado de varios centros de Valencia y se propondrán algunas mejoras como la creación de material para trabajar la improvisación o la adaptación y puesta en práctica de ciertas actividades de improvisación. Como resultado de la encuesta, se observa que uno de los mayores problemas es la poca o nula formación del profesorado en este campo y por tanto su imposibilidad de dar clase, además de la falta de materiales específicos para el trabajo de esta. En referencia a la puesta en marcha de las actividades, se observa que no hay problemas, a pesar de la creencia, en introducir la improvisación en cursos posteriores. Por tanto, en dicho trabajo se cumplirá con el objetivo propuesto de análisis y solución de algunos de los problemas de la enseñanza de la improvisación. Palabras clave: Conservatorios, educación musical, enseñanzas elementales, enseñanzas profesionales, improvisación, música, Valencia. ABSTRACT In this paper we analize the use of improvisation in musical education, and more concretely in the education centers of Valencia. This research aims to analyze what the real situation is and what factors influence its use, as well as the search for possible solutions to existing problems. To this end, a survey was carried out on teachers from various schools in Valencia and some improvements will be proposed, such as the creation of material to work on improvisation or the adaptation and implementation of certain improvisation activities. After studying the results of the survey, it is observed that one of the biggest problems is the little or no teacher training in this field and therefore their inability to teach, in addition to the lack of specific materials for improvisation instruction. In reference to the implementation of the activities, it is observed that there are no problems, despite the belief, in introducing improvisation in later courses. Therefore, this paper will fulfill the proposed objective of analysis and solution of some of the problems of teaching improvisation. Key words: Conservatories, musical education, elementary education, professional education, improvisation, music, Valencia.

Below is a collection of tutorial slides originally posted on the Facebook as a SERVICE TO God and humanity and for the benefit of spiritually awakening and enlightening the public and for better preparing them for Ascension.

Neophilologus, 2023

For almost two centuries, Böðvarr bjarki has been a household name in Beowulf studies. The exploits of this monster-slaying champion of the Danish king match those of the epic hero at many points, and this has made Bjarki the subject of critical fascination. Many scholars have viewed the correspondences between Beowulf and Bjarki as evidence that certain aspects of Beowulf's career may have been modelled on existing Scandinavian legend-a view with clear implications for our understanding of the originality of Beowulf. The value of the Bjarki story has also been challenged, largely on the basis that Scandinavian evidence is inconsistent in its presentation of this tradition. This article defends the usefulness of the Bjarki analogue by returning to the Scandinavian source material. It demonstrates that the various versions of the Bjarki story across Old Norse and Latin sources are structurally consistent and point to the existence of a coherent underlying tradition. This reopens the possibility that Beowulf and Bjarki may independently derive from the same legendary archetype. Keywords Beowulf • Bjarki • Old English • Old Norse • Analogues Beowulf makes no secret of its rich inheritance. The poem sprang from a stock of figures and legends that were current across the Germanic world at the time of its composition. Most of the poem's main characters, and many of its minor ones, appear in a range of Anglo-Saxon, Continental and especially Scandinavian records. Alcuin's oft-quoted question 'quid Hinieldus cum Christo?' ('what has Ingeld to do with Christ?'), posed in the context of certain carmina gentilium ('songs of pagans') apparently in vogue among certain episcopal circles, indicates that stories surround