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Celtic Egyptians: Isis Priests of the Lineage of Scota
Celtic Egyptians: Isis Priests of the Lineage of Scota Samuel Liddell MacGregor Mathers – the primary creative genius behind the famous British occult group, the Hermetic Order of the Golden Dawn – and his wife Moina Mathers established a mystery religion of Isis in fin-de-siècle Paris. Lawrence Durdin-Robertson, his wife Pamela, and his sister Olivia created the Fellowship of Isis in Ireland in the early 1970s. Although separated by over half a century, and not directly associated with each other, both groups have several characteristics in common. Each combined their worship of an ancient Egyptian goddess with an interest in the Celtic Revival; both claimed that their priestly lineages derived directly from the Egyptian queen Scota, mythical foundress of Ireland and Scotland; and both groups used dramatic ritual and theatrical events as avenues for the promulgation of their Isis cults. The Parisian Isis movement and the Fellowship of Isis were (and are) historically-inaccurate syncretic constructions that utilised the tradition of an Egyptian origin of the peoples of Scotland and Ireland to legitimise their founders’ claims of lineal descent from an ancient Egyptian priesthood. To explore this contention, this chapter begins with brief overviews of Isis in antiquity, her later appeal for Enlightenment Freemasons, and her subsequent adoption by the Hermetic Order of the Golden Dawn. It then explores the Parisian cult of Isis, its relationship to the Celtic Revival, the myth of the Egyptian queen Scota, and examines the establishment of the Fellowship of Isis. The Parisian mysteries of Isis and the Fellowship of Isis have largely been overlooked by critical scholarship to date; the use of the medieval myth of Scota by the founders of these groups has hitherto been left unexplored. -
The Foot of Sarapis
THE FOOT OF SARAPIS I. PRIMARY MONU\MENTS Anyone who collects the monuiments associated with Mithras, as F. Cumont did, or with the " Egyptian " gods, as T. A. Brady is doing, or with the " Syrian " gods, as F. R. Walton is doing, will come upon a curious type of monument-the grotesque, snake-entwined, bust-crowned, gigantic Foot of Sarapis. In no other ancient or modern cult, so far as we are aware, is there anything quite like these objects. The fact that it was a symbol on Imperial Roman coinage indicates that in its own day as well the Foot of Sarapis was felt to be distinctive. In mnodernscholarly writings there is no lack of references to these monuments (we have tried to record all references). It happens, however, that no one has had in hand at one timie the materials necessary for a passable study of any one of them, let alone a study of all together. The accidental discovery, in 1936, of another Foot, the first and only example known in Athens, and the largest known anywhere, led us to collect evidence on the others. One would expect to find that ntumerous examples had survived. Writing in 1820, H. Meyer knew only one example of such feet carved in the round. The number has increased slowly. In the present study we have tried to assemble all the feet in the round which are positivelv attested as being associated with Sarapis. and we have found onlv five. Dotubtless some few more exist unpublished, but not, we believe, more than a fev. -
Davoli the Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68
Université Paul Valéry (Montpellier III) – CNRS UMR 5140 « Archéologie des Sociétés Méditerranéennes » Équipe « Égypte Nilotique et Méditerranéenne » (ENiM) CENiM 9 Cahiers de l’ENiM Le myrte et la rose Mélanges offerts à Françoise Dunand par ses élèves, collègues et amis Réunis par Gaëlle Tallet et Christiane Zivie-Coche * Montpellier, 2014 © Équipe « Égypte Nilotique et Méditerranéenne » de l’UMR 5140, « Archéologie des Sociétés Méditerranéennes » (Cnrs – Université Paul Valéry – Montpellier III), Montpellier, 2014 Françoise Dunand à sa table de travail, à l’Institut d’histoire des religions de l’Université de Strasbourg, dans les années 1980 (d. r.). TABLE DES MATIÈRES Volume 1 Table des matières I-III Abréviations bibliographiques V-VIII Liste des contributeurs IX Introduction Gaëlle Tallet et Christiane Zivie-Coche D’une autre rive. Entretiens avec Françoise Dunand XI-XIX Gaëlle Tallet Bibliographie de Françoise Dunand XXI-XXVII I. La société égyptienne au prisme de la papyrologie Adam Bülow-Jacobsen Texts and Textiles on Mons Claudianus 3-7 Hélène Cuvigny « Le blé pour les Juifs » (O.Ka.La. Inv. 228) 9-14 Arietta Papaconstantinou Egyptians and ‘Hellenists’ : linguistic diversity in the early Pachomian monasteries 15-21 Jean A. Straus Esclaves malfaiteurs dans l'Égypte romaine 23-31 II. Le ‘cercle isiaque’ Corinne Bonnet Stratégies d’intégration des cultes isiaques et du culte des Lagides dans la région de Tyr à l’époque hellénistique 35-40 Laurent Bricault Les Sarapiastes 41-49 Paola Davoli The Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68 Michel Reddé Du Rhin au Nil. Quelques remarques sur le culte de Sarapis dans l’armée romaine 69-75 III. -
Astarte - Wikipedia, the Free Encyclopedia
Astarte - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Astarte Astarte From Wikipedia, the free encyclopedia Astarte /æˈstɑrti/ (Ancient Greek: Ἀστάρτη , "Astárt ē") is the Greek name of the Mesopotamian (i.e. Assyrian, Akkadian, Babylonian) Semitic goddess Ishtar known throughout the Near East and Eastern Mediterranean from the early Bronze Age to Classical times. It is one of a number of names associated with the chief goddess or female divinity of those peoples. [1] She is found as Ugaritic ( ʻṯ trt , " ʻAṯtart" or " ʻAthtart"); in Phoenician as ( ʻštrt , "Ashtart"); in Astarte riding in a chariot with four Ashtoret , singular, or Ashtarot , plural); and appears branches protruding from roof, on the ) עשתרת Hebrew originally in Akkadian as D, the grammatically reverse of a Julia Maesa coin from masculine name of the goddess Ishtar ; the form Astartu is used to Sidon describe her age. [2] The name appears also in Etruscan as İħģ ĚĮįĵĞ Uni-Astre (Pyrgi Tablets), Ishtar or Ashtart . Contents 1 Overview 2 Astarte in Ugarit 3 Astarte in Egypt 4 Astarte in Phoenicia 5 Astarte in Judah 6 Other associations 7 See also 8 References 9 External links Overview Astarte was connected with fertility, sexuality, and war. Her symbols were the lion, the horse, the sphinx, the dove, and a star within a circle indicating the planet Venus. Pictorial representations often show her naked. She has been known as the deified evening star.[2] Astarte was worshipped in Syria and Canaan beginning in the first millennium BC and was first mentioned in texts from Ugarit. She came from the same Semitic origins as the Mesopotamian goddess Ishtar, and an Ugaritic text specifically equates her with Ishtar. -
On the Rise and Fall of Canaanite Religion at Baalbek: a Tale of Five Toponyms
JBL 128, no. 3 (2009): 507–525 On the Rise and Fall of Canaanite Religion at Baalbek: A Tale of Five Toponyms richard c. steiner [email protected] Revel Graduate School, Yeshiva University, New York, NY 10033 The city of Baalbek, in present-day Lebanon, has been a subject of interest to students of the Bible for more than a millennium. Since the tenth century c.e., many have identified it with Baal-Gad (Josh 11:17) and/or Baalath (1 Kgs 9:18).1 Since the beginning of the eighteenth century, others have connected it, in one way or another, with Bikath-Aven (Amos 1:5). In 1863, these and other suggestions were reviewed by John Hogg in a lengthy treatise.2 The etymology of the toponym, which appears as Bvlbk in classical Syriac and as Bavlabakku in classical Arabic, has been widely discussed since the eighteenth century. Many etymologies have been suggested, most of them unconvincing.3 Part of the problem is that a combination of etymologies is needed, for the name of the place changed over the centuries as its religious significance evolved. In this article, I shall attempt to show that the rise and fall of Canaanite reli- gion at Baalbek from the Bronze Age to the Byzantine period can be traced with the help of five toponyms: (1) Mbk Nhrm (Source of the Two Rivers),4 (2) Nw) t(qb 1 See Richard C. Steiner, “The Byzantine Biblical Commentaries from the Genizah: Rab- banite vs. Karaite,” in Shai le-Sara Japhet (ed. M. Bar-Asher et al.; Jerusalem: Bialik, 2007), *258; and Conrad Iken, Dissertationis philologico-theologicae no. -
University of Groningen Moses/Musaeus/Mochos and His
University of Groningen Moses/Musaeus/Mochos and his God Yahweh, Iao, and Sabaoth, seen from a Graeco- Roman perspective van Kooten, G.H. Published in: The revelation of the name YHWH to Moses IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2006 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): van Kooten, G. H. (2006). Moses/Musaeus/Mochos and his God Yahweh, Iao, and Sabaoth, seen from a Graeco-Roman perspective. In G. H. V. Kooten (Ed.), The revelation of the name YHWH to Moses: Perspectives from Judaism, the pagan Graeco-Roman world, and early christianity (pp. 107-138). (Themes in Biblical Narrative; No. 9). Brill. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. -
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES NUMBER 7 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) was supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Meta- physics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 Number 6: Donald J. Mastronarde, Preliminary Studies on the Scholia to Euripides, 2017 Early Greek Alchemy, Patronage and Innovation in Late Antiquity Olivier Dufault CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2019 by Olivier Dufault. -
Cwiek, Andrzej. Relief Decoration in the Royal
Andrzej Ćwiek RELIEF DECORATION IN THE ROYAL FUNERARY COMPLEXES OF THE OLD KINGDOM STUDIES IN THE DEVELOPMENT, SCENE CONTENT AND ICONOGRAPHY PhD THESIS WRITTEN UNDER THE SUPERVISION OF PROF. KAROL MYŚLIWIEC INSTITUTE OF ARCHAEOLOGY FACULTY OF HISTORY WARSAW UNIVERSITY 2003 ACKNOWLEDGMENTS This work would have never appeared without help, support, advice and kindness of many people. I would like to express my sincerest thanks to: Professor Karol Myśliwiec, the supervisor of this thesis, for his incredible patience. Professor Zbigniew Szafrański, my first teacher of Egyptian archaeology and subsequently my boss at Deir el-Bahari, colleague and friend. It was his attitude towards science that influenced my decision to become an Egyptologist. Professor Lech Krzyżaniak, who offered to me really enormous possibilities of work in Poznań and helped me to survive during difficult years. It is due to him I have finished my thesis at last; he asked me about it every time he saw me. Professor Dietrich Wildung who encouraged me and kindly opened for me the inventories and photographic archives of the Ägyptisches Museum und Papyrussammlung, and Dr. Karla Kroeper who enabled my work in Berlin in perfect conditions. Professors and colleagues who offered to me their knowledge, unpublished material, and helped me in various ways. Many scholars contributed to this work, sometimes unconsciously, and I owe to them much, albeit all the mistakes and misinterpretations are certainly by myself. Let me list them in an alphabetical order, pleno titulo: Hartwig -
Augustus in Egypt. the Varying Images of the First Roman Emperor
Christoph Klose, Lukas C. Bossert, William Leveritt (eds.) | Fresh Perspectives on Graeco-Roman Visual Culture. Proceedings of an International Conference at Humboldt-Universität, Berlin, 2nd–3rd September 2013 | 2015 | urn:nbn:de:kobv:11-100229177 Augustus: Caesar and god. Varying Images of the first Roman Emperor Jodie Martyndale-Howard The University of Nottingham hy is it that Rome’s first Emperor can be seen to adorn Egyptian artand architecture as Pharaoh throughout the province? How might the context W of such images help our understanding of the population make-up and rea- sons behind such portrayals? These are the questions I wish to answer through exploring the varying images of the first Roman emperor. Whenever Augustus is mentioned images of power such as the Prima Porta are first to come to our minds.1 As one of the most well-known Imperial statues it is often our first thought regarding portraits of the young, militarily successful leader of the Roman world. It is this image which has been seen throughout modern scholarship as the epitome of the traits Augustus wished his subjects to see, and therefore the one which resonates most strongly in our minds as the defining image of the emperor.2 Yet various scholars who address provincial images pay little or no attention to Egypt and the array of portrayals available.3 This may be because of the peculiar nature of Egypt: for some Classicists, it is Egyptologists who should be researching the images and wrestling with the complex iconographic system that had developed through centuries of Pharaonic and Ptolemaic rule; the other side believe it to be the remit of Classicists, who can use such images to understand how the province was ruled. -
Syllabus for the History of the Phoenicians, ACABS 591.002//491.003 Instructor: Eric Reymond; [email protected] Or [email protected] Office Hours: Wed
Syllabus for the History of the Phoenicians, ACABS 591.002//491.003 Instructor: Eric Reymond; [email protected] or [email protected] Office Hours: Wed. 12-2 @ Thayer 3155 Meeting Time: Mondays, 4-7 in MLB B134 The Phoenicians were a people who interacted with numerous groups and nations of the Ancient Near East, but whose interactions with peoples of the Mediterranean world are perhaps best known. For students of the Bible, the Phoenicians are commonly associated with the worship of Baal and with Canaanite culture. For students of the classical world, the Phoenicians are commonly associated with sailing, trade, and their alphabet, which they passed to the Greeks and others in the Mediterranean. In later times, the Phoenicians‘ colonies in North Africa fought with Rome for supremacy in the western Mediterranean. Throughout the first millennium B.C.E., Phoenicians and Phoenician culture were portrayed as alien, savage, and barbaric. This course will explore the political and cultural history of the Phoenicians. Especially important will be the early culture of the Phoenician city-states and their interactions with neighboring regions, including ancient Israel; the cultural exchanges between eastern and western Mediterranean regions; and the political conflicts between Carthage and Rome. In addition, the course will attempt to outline how Phoenicians were portrayed by their neighbors: the writers of the Bible, the writers of Greek and Roman history and literature. How these portrayals reflect the Phoenician themselves, as well as the interests and preconceptions of the writers will also be investigated. The course is open to undergraduate and graduate students. NO prior language experience in Phoenician, Greek, Latin, or Hebrew is necessary to take the course. -
Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods
International Journal of Engineering and Techniques - Volume 3 Issue 6, Nov - Dec 2017 RESEARCH ARTICLE OPEN ACCESS Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods Galal Ali Hassaan Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt Email: [email protected] Abstract: th This paper is the 57 research paper in a series investigating the evolution of mechanical engineering in ancient Egypt. It tries to achieve this purpose through investigating the symbols industry during the Third Intermediate and Late Periods. It outlines the design and application of symbols by the ancient Egyptians. The symbols used are highlighted with reference to material and present location if known. Features of the symbol-based products are outlined as characteristics of Mechanical Engineering in ancient Egypt. Keywords — Mechanical engineering; ancient Egypt; symbols industry, 3 rd Intermediate Period, Late Period inscriptions including too many symbols and I. INTRODUCTION another coffin decorated at the feet area by Ankh and Was sceptre symbols [2]. This is the 61 paper in a series of research Moore (2014) in her Master of Arts Thesis papers aiming at exploring the role of ancient about the non-royal female Egyptian coffins in the Egyptians in the evolution of mechanical Third Intermediate Period presented the coffin of engineering. The paper focuses on the symbols Meresamun fully decorated and inscribed with Sun- industry in ancient Egypt during the Third disk, Shen, Wadjet eye, Was sceptre, Nekhbet, Djed Intermediate and Late Periods. and Tiet symbols. She presented also a coffin for Teeter (2003) presented a limestone statue Ankh-Teh fully decorated and inscribed including for Hathor from the Third Intermediate Period with some symbols such as: Crook, Flail, Sun-disk, Swty, engravings of scenes using some symbols of ancient Nekhbet, Sesen and Ba. -
Sales 2017 Thinking Symbols.Pdf
Pultusk Academy of Humanities ACTA ARCHAEOLOGICA PULTUSKIENSIA Vol. VI Thinking Symbols Interdisciplinary Studies Edited by Joanna Popielska-Grzybowska & Jadwiga Iwaszczuk Department of Archaeology and Anthropology PUŁTUSK 2017 Scientific Editors: Joanna Popielska-Grzybowska, Jadwiga Iwaszczuk Proof-reading in English by Jo B. Harper & Joanna Popielska-Grzybowska DTP by Jadwiga Iwaszczuk Graphics by Jadwiga Iwaszczuk Cover design by Jakub Affelski All rights reserved © Copyright 2017 by the Pultusk Academy of Humanities, 2017 Second edition Publisher: Pultusk Academy of Humanities ul. Daszyńskiego 17, 06-100 Pułtusk tel./fax (+48 23) 692 50 82 e-mail: [email protected] Internet: www.ah.edu.pl ISBN 978-83-7549-311-5 Realised on behalf of the publisher: Przedsiębiorstwo Poligraficzno-Wydawnicze “Graf” – Janusz Janiszewski 04-663 Warszawa ul. Błękitna 87A tel. 501 376 898 e-mail: [email protected] Contents Preface .....................................................................................................................................7 *** James Cogswell, Cosmogonic Tattoos: epistemic limits and the will to adorn ..................9 Sebastian Szymański, Music as a symbol of communication ............................................ 17 *** Lidia Ambroziak, Mind maps in creative knowledge gaining process by students ...........19 Ivan Badanjak, Codex Gigas as the symbol of the occult ...................................................25 Nicholas Campion, Astrology: the survival of an ancient symbolic language ...................