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Near & Middle Eastern Civilizations UNDERGRADUATE JOURNAL OF Near & Middle Eastern Civilizations ISSUE XI UNDERGRADUATE JOURNAL OF Near & Middle Eastern Civilizations ISSUE XI Staff & Credits EDITOR-IN-CHIEF Ofelia Tychon EDITORS Farida Abdelmeguied Charlie Gordon Salwa Iqbal Ritika Lal Christopher Legerme Mohamed Serageldin Catharine Solomon ILLUSTRATOR Meagan Jahrles LAYOUT Catharine Solomon THANK YOU Near and Middle Eastern Civilizations Students’ Union Arts & Sciences Students’ Union 2 Table of Contents 5 Letter from Editor-in-Chief 6 A Study of the Royal Ontario Museum’s Shabti of Senkamanisken Evelyn Hayes 14 Sounds Like Multiculturalism: “Paramount”, Home, and Consuming Diversity Ahmed Hegazy 20 Can the Lebanese Phalange Be Considered a Fascist Movement? A Critical Examination Using Stanley G. Payne’s Typology of Fascism Callum Hutchinson 38 Coptic vs. Christian: A Question of Cultural Identity in the Medieval Cemeteries of Lower Nubia Jason Silvestri 50 Cultural Consciousness and the Evolution of Islamism in the Iranian Revolution of 1979 Nazanin Zarepour 3 4 Letter from Editor-in-Chief Dear Reader, I am honoured to present to you the eleventh edition of the Undergraduate Journal of Near and Middle Eastern Civilizations. This year marks the Journal’s 15 year anniversary. The Journal is proud to continue to provide a platform to showcase the intellectual depth of the undergraduate students of the Department of Near and Middle Eastern Civilizations. Spanning three millennia, this edition’s articles embody the diversity of the Department’s ancient, medieval and modern streams. They were written by your fellow University of Toronto undergraduate students, and I hope their work inspires your continued interest in the field. I would like to especially thank the Journal’s talented team, without whom this edition would not have been possible. It is also important to acknowledge the unwavering support of NMCSU and the Department itself. Finally, I would like to thank you for reading the Journal – please enjoy. Ofelia Tychon Editor-in-Chief 5 A Study Of The Royal Ontario Museum’s Shabti Of Senkamanisken Evelyn Hayes 6 Introduction The following is a translation and discussion of an Ancient Egyptian funerary figurine, called a shabti. The artifact under inspection is from the Royal Ontario Museum, and is itself a replica of a shabti belonging to an interactive children’s gallery called the CIBC Discovery Gallery (Figures 1 and 2). The original shabti is currently on display in the museum as well, in the Nubian section of the Gallery of Africa. Its accession number is 926.15.1 (“Shabti of King Senkamanisken”). The shabti is 17.8 centimetres tall, 7 centimetres wide, and 3 centimetres thick. The Royal Ontario Museum’s collections website states that it is likely made of serpentine or ankerite (“Stela of King Senkamanisken”), materials that were used for other Napatan shabtis as well, such as the one belonging to King Taharqa (“Stela of King Taharqa”). It belonged to, and represents, the Nubian King Senkamanisken. He is depicted wearing the royal nemes headdress topped with a double uraeus and a braided false beard. He also wears a thick collar or pectoral necklace. Joyce L. Haynes and Ronald Leprohon’s study Napatan Shawabtis in the Royal Ontario Museum describes several other features of the original shabti which are not visible on the replica which was the primary subject of this study. These are namely that the king is holding a bladed hoe in his right hand along with a broad one in the left, and a seed bag slung over his left shoulder (Haynes and Leprohon 1987, 19). There is also an ankh incised into the base of the statuette. The text is written over six horizontal lines, right to left, and separated by engraved lines (Leprohon, 1987, 19). Figure 1. (left) The front of the replica (photo by Evelyn Ullyott-Hayes) Figure 2. (right) The back of the replica. The seed bag is visible on the left shoulder (photo by Evelyn Ullyott-Hayes) 7 Hieroglyphic Text This is the text as it appears on the shabti; divided into six lines as they are inscribed. Transliteration and Translation Grammatical Notes Here I have divided the text into different a) prospective sdm·f as a main lines than shown above, based on what I clause wish/exhortation, see judge to be the most apparent sentences: Hoch’s Middle Egyptian Grammar §72 (88) sḥda wsir ntr nfr nb t3wy sḫpr·n-Rc pw b) circumstantial main clause sdm·f m3c-ḫrw c) sdm·tw, in this case the tw May the Osiris, the Good God, the Lord of the is the indefinite particle ‘one’ Two Lands Sekheperenre, justified, be illuminated rather than making the verb a ddb i šbty passive He says, “O shabti!” d) sdm·tw, in this case the tw is ip·tc ir ḥsb·td wsir nsw snk3-Imn-skn pw the indefinite particle ‘one’ rather m3c-ḫrw than making the verb a passive If one counts, if one reckons the Osiris, King e) future tense r sdm·f Senkamanisken, justified f) “irt im m hrt-ntr” is a participle, r irte k3t nb irtf im m hrt-ntr the subject being “k3t”; “the works” To do all the works that are to be done there in g) future tense r sdm·f the necropolis, h) future tense r sdm·f r srwdg sḫt r smḥyh wdbw i) future tense r sdm·f To cultivate the fields, to irrigate the riparian j) prospective sdm·f, made lands obvious here by the use of the r hnti šcy n i3btt r imntt ts p hr dual reed leaf y To transport sand of the East to the West and k) prospective sdm·f, in this case vice versa with the suffix pronoun. Here iry·ij mk wi k3·kk the prospective means ‘(one) is to “I will do it! Here I am!” you shall say. (do)’, see Hoch §73 (89) 8 Notes on the Names The two names given, Sekheperenre and Senkamanisken, are the prenomen and nomen of Senkamanisken, respectively (“Senkamanisken”). They are both written using honorific transposition, with the gods’ names (Rc and Imn) appearing at the beginning of the cartouche. The name Sekheperenre was also used by a Fourteenth Dynasty Egyptian king although his was spelled slightly differently, the r and n were included as (von Beckerath 1984, 110). According to Leprohon in The Great Name: Ancient Egyptian Royal Titulary (Leprohon 2013, 217) this name means “The One Whom Re Has Brought Into Being”. It consists of the sdm·n·f form of the verb sḫpr and the god’s name Rc. I believe the whole name is a participle, with “The One” functioning as an unwritten antecedent. The nomen Senkamanisken is much more enigmatic. From what I can tell it does not seem to be composed of Egyptian words; it could possibly be a transliteration into hieroglyphs of a native Kushite name or phrase. He also had a Horus name, a Two Ladies name and a Golden Horus name which are not included on the shabti. These are supplied by Török (1997, 201), with English translations and are presented below, with brief grammatical commentary of my own: Name Transliteration Translation Comment Horus šhr-t3wy Pacifier of the Nominal form of name Two Lands the verb šhri, ‘to make content’ Two Ladies ḫc-ḥr-m3ct Who Appears in The initial verb is name Equity ḫci, which usually means ‘to appear (in glory)’ Golden wsr-pḥty Whose Strength Two nouns in Horus Is Mighty bound construction, name ie ‘x of y’ The Two Ladies and Golden Horus names are also possible particles, with the unmentioned ‘one’ for the king as the antecedent. The Prayer This text is a version of Chapter Six of the Book of the Dead, commonly found on shabtis. Also called the Book of Going Forth by Day, this is a collection of funerary texts often found in burials copied onto papyrus (Leisko 2005). Some sections of this book contain magical or religious spells of various effects, 9 including this one which is intended to ‘animate’ the shabti so it can answer any summons and perform its work. According to Hans D. Schneider’s classification, this version of the text is version VIIA, which is standard of Late Period shabtis (Schneider 1977, 120). However, there are some differences. In Schneider’s version the word ushebti is used, while shabti is employed here, and unlike his other variants of VIIA there is no demonstrative pronoun after this word (see Schneider 1977, 121: most are “these ushebtis” or “this ushebti”). The most striking difference is its lack of what Schneider calls the ‘obstacle clause’, a sentence along the lines of “now indeed, obstacles are implanted therewith” (Schneider 1977, 121). This would usually come after “to do all the works that are to be done there in the necropolis” whereas this text jumps straight to description of said tasks. The use of the word pw before m3c-ḫrw after the king’s names is also unusual. Shabtis Shabti is one of three names for a particular type of ancient Egyptian funerary statuette, the other two being shawabti and ushebti (Schneider 1977, 2). They are small statuettes representing either mummies or living people whose purpose was to work for the deceased by performing any tasks needed in the afterlife (Spanel, 2005). The history of shabtis begins with the appearance of statuettes of servants in Old Kingdom tombs and linen-wrapped wax mummy figurines in Herakleopolitan burials at Saqqara. During the Middle Kingdom these began to be made of stone, and during either the Thirteenth or Seventeenth Dynasty some begin to be inscribed with a short version of Chapter Six of the Book of The Dead.
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