Languages and Linguistics

This article aims at presenting insights regarding the peculiar role of
learners, teachers and teaching methodologies to address to the specific
needs of English for Specific Purposes (ESP) programmes. It has been found
out that adulthood teaching demands that ESP teaching should not be
restricted only to instructional setting but other modes, such as self-access
study, project work, cooperative learning etc. should be incorporated in the
program. It has also been reported that ESP learners should be actively
involved in the process of the choice of the content materials, curriculum
development and teaching methodology to ensure maximum commitment
and motivation of the program participants. The following five key roles
have been identified for ESP practitioners who need to discharge their work
as a 1) teacher, 2) course designer and material provider, 3) collaborator, 4)
researcher and 5) evaluator. ESP teachers have to bear the extra burden of
the content area of the learners as well. Additionally ESP practitioners have a
challenging task because they are not in the position of being the 'primary
knower' of the carrier content and in most of the cases ESP learners may
know more about the content than the teachers. The findings strongly suggest
that ESP teaching calls for an extremely professional behavior on part of
ESP teachers who need to update their knowledge by remaining constantly in
touch with the research in the various fields of ESP. It is suggested that no
single teaching methodology can be sufficient to address diverse and peculiar
needs of ESP learners and ESP practitioners have to pick and choose from a
host of teaching methodologies to run an effective ESP course. It may be
summed up that as the learners’ personalities as well as the learning contexts
are diverse and specific, there is an unavoidable need to choose matching
pedagogical methodologies.

CABRA. Origen etimológico fijado por Enrique Cabrejas, es un comunicado por el cual este etimólogo nos expone aplicando su Teoría de los Acrónimos que la denominación dada a este animal en lengua española es el fruto de un antiquísimo acrónimo ibérico. Una locución dada por nuestros antepasados ibéricos y que ha permanecido desde hace miles de años preexistente en el léxico español.

This study focuses on the attitudes of university students of Turkish background towards the variety of Turkish spoken in Cyprus, namely Cypriot Turkish (CT), and Standard Turkish (ST). The participants of the study were sampled from the largest private university in the northern part of Cyprus and a questionnaire was distributed to explore whether their attitudes were by and large prescriptive or not. Age, gender and region from which they originated in Turkey were the variables through which possible differences in their attitudes were explored. In addition, the participants’ perceptions of their own linguistic productions of these two varieties were investigated through the questionnaire. The results showed that Turkish university students had somewhat negative attitudes towards CT, which they found to be highly inferior compared to ST. They also found CT less rich and less appropriate for expressing seriousness. CT was preferred over ST in none of the traits that were included in the questionnaire, although the participants rated the two varieties equally for being attractive, refined, friendly, melodic, affectionate and for expressing honesty.

A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl.

See سپوږمي or سپوګمي رښړه rabaṟṟṉaʿh, s.f. (3rd) Moonshine, the light of the moon, moonlight. Pl. يْ ey. See سپوږمي (Pashto)

P کمر kamar, s.m. (2nd) The middle of a mountain, a precipice, a cliff, an escarpment, the high bank of a river, a place where a portion has fallen from a mountain. Pl. کمرونه  kamarūnah. کمر بند kamar band, s.m. (2nd) A girdle, a zone, a waist belt. Pl. کمر بندونه kamar bandūnah. کمر کیسه kamar kīsaʿh, s.f. (3rd) A waist-belt with powder horn, and other furniture for a soldier. Pl. يْ ey. See ملا
P کمري kamarī, adj. Weak in the loins (as a horse), respecting the loins. (Masc. and Fem.) (Pashto)

Based on this Indus Script cipher of the hieroglyph 'moon', the following revisions are made for the dedcipherment of the Jasper cylinder seal:

The four persons (kamar) may be recognized as soldiers based on the Pashto gloss: kamar kīsaʿh, s.f. (3rd) A waist-belt with powder horn, and other furniture for a soldier. The kamar is semantically reinforced by orthographic determinative of six curls of hair: baTa 'six' Rebus: bhaTa 'furnace' PLUS PLUS meDh 'curl' Rebus: meD 'iron'

to indicate that the message conveyed is of four smelters for iron (metal).

The four hieroglyphs are: from l. to r. 1. moon PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.

kamar 'moon' Rebus: kamar 'blacksmith'
arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent implements'
aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'


Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar
A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'
http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyphs-signify-dhatu.html
Cylinder seal with kneeling nude heroes, ca. 2220–2159BCE.; Akkadian
Mesopotamia
Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)
Anonymous Loan (L.1992.23.5)

Citation
"Cylinder seal with kneeling nude heroes [Mesopotamia]" (L.1992.23.5) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/L.1992.23.5. (October 2006)
Four representations of a nude hero with six sidelocks of hair appear on this cylinder seal. Each wears a three-strand belt with a tassel. In all cases, the hero kneels on one knee and with both hands holds up a gatepost standard in front of his raised leg. Two vertical lines of inscription, one placed before a hero and another placed behind a second hero, give the name as Shatpum, son of Shallum, but do not provide an official title. Placed vertically in the field, a serpent appears behind one hero. In the spaces between the tops of the standards are four symbols: a sun disk, a lunar crescent, a fish, and a vase with flowing streams of water.
The nude hero is often shown with this very explicit type of gatepost, which perhaps is the emblem of a specific god or group of deities. The heroes with gateposts, the flowing vase, and the fish suggest that the iconography of this seal is somehow connected with Ea, god of sweet water and wisdom. However, the meaning of individual symbols could change in different contexts. The sun, moon, vase, and fish are undoubtedly astral or planetary symbols—the vase with streams and the fish are forerunners of what in much later times become zodiacal signs.
http://www.metmuseum.org/toah/works-of-art/L.1992.23.5

S. Kalyanaraman
Sarasvati Research Center
August 19, 2015

In this paper, an adapted optimal neural network based classifier using optical character recognition engine for Tamil language is proposed. The proposed method can be used to recognize any language characters but in this paper only Tamil characters were tested for recognition. As an enhancement,
implementation of speech processing is used to identify the classified Tamil characters for visually impaired persons for ease by providing audio feedback of the same. Also the same technique is used to resolve confusions between triplets and quadruples of similar characters. As a future enhancement, the
same recognition could be carried out not only for individual characters but also for Tamil words.

dhAtu is a gloss which signifies metal, mineral, ore. It is likely that in early Bronze Age, the mineral specifically referred to is iron ore or meteoric iron as naturally occurring native, unsmelted metal called aduru, ayas. A gloss dhāvaḍ has the meaning: iron smelters. This gloss derived rom dhAtu can be explained in an archaeometallurgical context with evidences from Indus Script Corpora.

This suggestion is premised on a Marathi gloss (Prakritam, Meluhha pronunciation) cognate with dhAtu: dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (Marathi)

This note suggests that the place names in India of Dharwad and Ib are related to nearby iron ore regions and lived in by iron workers. The names are derived from two etyma streams: 1 dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhātu n. ʻ substance ʼ RV., m. ʻ element ʼ 2. ib 'iron' kara +iba, karba 'iron'. For example, the place name Dharwad is relatable to dhāvaḍ 'iron-smelters'. Archaeological explorations near Dharwad and Ib may indicate evidences for iron smelting.

  This etymon indicates the possible reading of the tall flagpost carried by kneeling persons with six locks of hair: baTa 'six' Rebus: bhaTa 'furnace'. Associated with nAga 'serpent' Rebus: nAga 'lead'

The banner flagpost carried by four flag-bearers includes a banner associated with fish. aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) http://bharatkalyan97.blogspot.in/2015/08/indus-script-unravels-announcement-of.html presents the picture of a 11-ft tall banner from Girsu (Telloh)

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.


There are two Railway stations in India called Dharwad and Ib. Both are related to Prakritam words with the semantic significance: iron worker, iron ore.

dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ (Marathi)(CDIAL 6773)

ib 'iron' (Santali) karba 'iron'; ajirda karba 'native metal iron' (Tulu) karabha 'trunk of elephant' Rebus: karba 'iron' ibha 'elephant' Rebus: ib 'iron ore' (Santali) The gloss ajirda (Tulu) is cognate with aduru, ayas. Hence, it is likely that the gloss ayas of Rigveda signifies native, unsmelted metal of iron ore.

Glazed steatite . Cylinder seal. 3.4cm high; imported from Indus valley. Rhinoceros, elephant, crocodile (lizard? ).Tell Asmar (Eshnunna), Iraq. Elephant, rhinoceros, crocodile hieroglyphs: ib 'elephant' Rebus: ib 'iron' kANDa 'rhinoceros' Rebus: kANDa 'iron implements' karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
See: A stranded rope as a hieroglyph signifies dhAtu rebus metal, mineral, ore. This occurs on Ancient Near East objects with hieroglyphs such as votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of Lagash C. 2400 BCE Tello (ancient Girsu), eagle and stranded rope from Bogazhkoy. Indus Script decipherment of these hieroglyph-multiplexes confirms the underlying Prakritam as an Indo-European language and Indus Script Corpora is emphatically  catalogus catalogorum of metalwork of the Bronze Age in Ancient Near East.
http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-indus-script.html

Print of a seal: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c.B.C. (Museum Ankara). eruvai 'kite' Rebus: eruva 'copper' dhAtu 'strands of rope' Rebus: dhAtu 'mineral'
  m1406 Seal using three-stranded rope: dhAtu Rebus: iron ore.

Hieroglyph:  धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)

Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; (CDIAL 6773) धातु  primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam)

Located on the Map of India are regions with Fe (Iron ore) mines: the locations include Dharwad and Ib.

Dharwad is the district headquarters of Dharwad district in the state of Karnataka, India. It was merged with the city of Hubli in 1961 to form the twin cities of Hubli-Dharwad. It covers an area of 200.23 km² and is located 425 km northwest of Bengaluru, onNH 4, between Bengaluru and Pune...The word "Dharwad" means a place of rest in a long travel or a small habitation. For centuries, Dharwad acted as a gateway between the Malenaadu (western mountains) and the Bayalu seeme (plains) and it became a resting place for travellers. Inscriptions found near Durga Devi temple in Narendra (a nearby village) and RLS High School date back to the 12th century and have references to Dharwad. This makes Dharwad at least 900 years old.  https://en.wikipedia.org/wiki/Dharwad The place is located in the region of hematite (iron ore) -- e.g. Sandur taluk
 


The station derives its name from Ib River flowing nearby. Ib railway station came up with the opening of the Nagpur-Asansol main line of Bengal Nagpur Railway in 1891. It became a station on the crosscountry Howrah-Nagpur-Mumbai line in 1900 In 1900, when Bengal Nagpur Railway was building a bridge across the Ib River, coal was accidentally discovered in what later became Ib Valley Coalfield. https://en.wikipedia.org/wiki/Ib_railway_station

S. Kalyanaraman
Sarasvati Research Center
August 19, 2015

The telegraphic stage of language acquisition can basically be summed up by saying that when a child of 18 to 24 months of age can consistently utter two word sentences, he has entered this phase. But of course nothing is as it seems, and so this requires a bit more explanation. In this paper I will discuss the definition of the telegraphic phase. I will also give reference to the backers and creators of this theory. I will discuss the process of transition to the telegraphic phase or two word utterance phase of language acquisition. I will also talk about the criticism of the phase and briefly speak of opposing arguments. I will then transition this discussion to explaining the contribution this research can have in the ESL field and how the process can be encouraged. Finally I will introduce ideas for new curriculum that foster the ideas of the telegraphic phase and be useful for ESL students of all ages and levels.

Previously, one of the vital tasks of English learning is to find new methods and resources to make the EFL students
more stimulating and productive. Recently, the usage of movies (in DVD format) in courses became popular or
supplementary resources to learn English among EFL learners. Many researchers stated that authentic video is an
advantage and inspiring tool in language learning. However, there have been quite few studies on the relationship
between effective learning and students’ movie preferences. This research aims at finding the relationship between
effective learning and students’ movie preferences. To this end, data were collected by using posttests. Participants were
students from a Iraqi school in Kuala Lumpur. The researchers uncovered that the participants had insight into the
subtitles/captions which are used in the movie in classrooms. The implications of these findings and suggestions are
discussed.

Increasingly within the contemporary United States, reproductive politics have shifted the domain of fetal personhood from sight to sound—as amplified heartbeats are marshaled to give effective and affective proof of social engagement.  Drawing together ethnographic fieldwork from rural Oaxaca, Mexico, with an analysis of American fetal politics, I argue that public health technologies are deployed to make these social claims only by drawing upon deeply entrenched narratives about physical anatomy, sense perception, authoritative knowledge, and speech.  Emerging from a cultural and linguistic perspective, this paper contextualizes the heart’s biosocial importance as the ultimate site of energetic and passionate life within a historical genealogy of knowing the body.  Building on a long literature that has demonstrated that visual representations have come to stand in as proof of “self-evident” fetal personhood (c.f. Taylor 2008, Mitchell 2001), I draw upon two cases in which public amplification of a fetal heartbeat failed to produce the expected social recognition of personhood.  These moments of failure bring to the fore extant expectations about that which should not require explanation (i.e. the social presence of biological life); indeed, this emphasis on heartbeats as a form of “speech” illustrates a conflation of biological and social forms of fetal personhood.  This process through which fetuses are transformed from biological to social entities only through mediations of public health technology offers one stance from which to begin to consider their four-fielding incarnations.

This article examines the Canadian Language Benchmarks (Pawlikowska-
Smith, 2000; Hajer and Kaskens 2012) within the context of national second
language programming. I argue that students and teachers can view
such documents as hidden curriculum with which they can engage as
complicated conversations (Pinar, 2012).

Two examples of Indus Script seals with a three-stranded rope:
 
m1406

Hieroglyphs: thread of three stands + drummer + tumblers

dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’

karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'.


dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'



Kalibangan seal. k020 Hieroglyphs: thread of three strands + water-carrier + one-horned young bull.


Examples of acrobats as hieroglyphs:


Mehrgarh. Terracotta circular button seal. (Shah, SGM & Parpola, A., 1991, Corpus of Indus Seals and Inscriptions 2: Collections in Pakistan, Helsinki: Suomalainen Tiedeakatemia, MR-17. A humped bull (water buffalo?) and abstract forms (one of which is like a human body) around the bull. The human body is tossed from the horns of the bovine.



m0312 Persons vaulting over a water buffalo. The water buffalo tosses a person on its horns. Four or five bodies surround the animal. Rounded edges indicate frequent use to create clay seal impressions.








 
Impression of a steatite stamp seal (2300-1700 BCE) with a water-buffalo and acrobats. Buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). A figure is impaled on the horns of the buffalo; a woman acrobat wearing bangles on both arms and a long braid flowing from the head, leaps over the buffalo bull. The action narrative is presented in five frames of the acrobat getting tossed by the horns, jumping and falling down.Two Indus script glyphs are written in front of the buffalo. (ASI BNL 5683).

Rebus readings of hieroglyphs: ‘1. arrow, 2. jag/notch, 3. buffalo, 4.acrobatics’:


1.    kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ)
2.    खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

3. rāngo ‘water buffalo bull’ (Ku.N.)(CDIAL 10559)


Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). 

4. ḍullu to fall off; ḍollu to roll over (DEDR 2698) Te. ḍul(u)cu, ḍulupu to cause to fall; ḍollu to fall; ḍolligillu to fall or tumble over (DEDR 2988) డొలుచు [ḍolucu] or  ḍoluṭsu. [Tel.] v. n. To tumble head over heels as dancing girls do (Telugu) Rebus 1: dul ‘to cast in a mould’; dul mẽṛhẽt, dul meṛeḍ, 'cast iron'; koṭe meṛeḍ ‘forged iron’ (Santali) Bshk. ḍōl ʻ brass pot (CDIAL 6583). Rebus 2: WPah. ḍhōˋḷ m. ʻstoneʼ, ḍhòḷṭɔ m. ʻbig stone or boulderʼ, ḍhòḷṭu ʻsmall id.ʼ Him.I 87(CDIAL 5536). Rebus: K. ḍula m. ʻ rolling stoneʼ(CDIAL 6582).

Hieroglyph:  धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661)

Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; (CDIAL 6773) धातु  primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam).

The twisted snakes are distinguished in the context of a temple in Ancient Near East.

The Sumerian deity, Ningizzida, is accompanied by two gryphons Mushussu; it is the oldest known image of two snakes coiling around an axial rod, dating from before 2000 BCE.http://en.wikipedia.org/wiki/Serpent_(symbolism)

nAga 'serpent' Rebus: nAga 'lead'; dhAtu 'strands' Rebus: dhAtu 'mineral' Thus, nAga dhAtu 'lead mineral'


Hieroglyph: karada 'leopard': Kol. keḍiak tiger. Nk. khaṛeyak panther. Go. (A.) khaṛyal tiger; (Haig) kariyāl panther (Voc. 999). Kui kṛāḍi, krānḍi tiger, leopard, hyena. Kuwi (F.) kṛani tiger; (S.) klā'ni tiger, leopard; (Su. P. Isr.) kṛaˀni (pl. -ŋa) tiger. / Cf. Pkt. (DNM) karaḍa- id.  (DEDR 1132)  करडा [karaḍā]  Hard from alloy--iron, silver &c. (Marathi)
  Bronze flag, Shahdad Kerman, Iran dated to 3rd millennium BCE. See: http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-shahdad-bronze-age.html

“The shaft is set on a 135 mm high pyramidal base. The thin metal plate is a square with curved sides set in a 21 mm wide frame. On the plate there is a figure of a goddess sitting on a chair and facing forward. The goddess has a long face, long hair and round eyes. Her left hand is extended as if to take a gift…a square garden divided into ten squares. In the center of each square there is a small circle. Beside this garden there is a row of two date palm trees…Under this scene the figure of a bull flanked by two lions is shown…The sun appears between the heads of the goddess and, one of the women and it is surrounded by a row of chain decorative motives.” (Hakemi, Ali, 1997, Shahdad, archaeological excavations of a bronze age center in Iran, Reports and Memoirs, Vol. XXVII, IsMEO, Rome. 766 pp, p.271, p.649). The inscriptional evidence discovered at this site which is on the crossroads of ancient bronze age civilizations attests to the possibility of Meluhha settlements in Shahdad, Tepe Yahya and other Elam/Susa region sites. The evolution of bronze age necessitated a writing system -- the answer was provided by Indus writing using hieroglyphs and rebus method of rendering Meluhha (mleccha) words of Indian sprachbund.

"The inscriptional evidence discovered at this site which is on the crossroads of ancient bronze age civilizations attests to the possibility of Meluhha settlements in Shahdad, Tepe Yahya and other Elam/Susa region sites. The evolution of bronze age necessitated a writing system -- the answer was provided by Indus writing using hieroglyphs and rebus method of rendering Meluhha (mleccha) words of Indian sprachbund."  http://bharatkalyan97.blogspot.in/2015/08/ingots-of-arakuta-orichalcum-brass.html

Shown are the glyphs of 1. zebu and 2. tigers which are also glyphs on Indus writing which I decode as related respectively to 1. blacksmithy on unsmelted metal (Adar Dhangar 'native blacksmith', poLa 'zebu' Rebus: poLa 'magnetite') 2. working with alloys (kol, tiger) The tree is a smelter furnace (kuTi).

The twisted rope hieroglyph: धातु dhātu 'strand of rope' (Rigveda) Rebus: 'metal, mineral, ore (esp. of copper, esp. of red colour) Alternative: The endless-knot motif is iron (meD, knot, iron).

Twisted strands of rope as hieroglyph on Ancient Near East artifacts


Louvre AO7296
http://www.bibliotecapleyades.net/sumer_anunnaki/anunnaki3a/Louvre%20Dec%201%202002%20192.html ml

Worshiper Holding Hare Before Enthroned Male Figure, Vultures Above
Cylinder seal and impression Syria (ca. 1720–1650 B.C.E) Hematite 21 x 10 mm Seal no. 937 http://www.themorgan.org/collections/collectionsList.asp?id=Seals

Hieroglyphs on the cylinder seal read rebus:

The glyph of a crescent with a ball above may denote a crucible + ingot.

koThAri 'crucible' Rebus: koThAri 'treaurer, warehouse'

kola 'woman' Rebus: kolhe‘smelter’.

H. mẽṛā, mẽḍā m. ʻ ram with curling horns ʼ (CDIAL 10120). Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

kuṛī f. ʻ girl (Punjabi) Rebus: kuṭhi 'smelter'; dula 'pair' Rebus: dul 'cast metal'. Thus, the two young girls denote dul kuṭhi 'smelter for cast metal'.

मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) ayo 'fish' Rebus: ayo 'iron' (Gujarati); ayas 'alloyed metal' (Sanskrit) eruvai 'eagle' Rebus: eruvai 'copper'.

1. kulai ‘a hare’ (Santali) Allograph: kul ‘tiger’ (Santali) Rebus: kolhe‘smelter’. (Hieroglyph attached) A pair of hares: dul kolhe 'cast metal smelter'. (Hieroglyph: dula 'pair')
2. karaDi 'safflower' Rebus: karaDa 'hard alloy'.(Hieroglyph attached)

3. Twisted rope: dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'