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Egypt's Central Eastern Desert Rock-Art
Durham E-Theses Predynastic & Pharaonic era Rock-Art in Egypt's Central Eastern Desert: Distribution, Dating & Interpretation LANKESTER, FRANCIS,DAVID How to cite: LANKESTER, FRANCIS,DAVID (2012) Predynastic & Pharaonic era Rock-Art in Egypt's Central Eastern Desert: Distribution, Dating & Interpretation, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5909/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Predynastic & Pharaonic era Rock-Art in Egypt’s Central Eastern Desert: Distribution, Dating & Interpretation Thesis submitted for the degree of Ph.D. Archaeology, Durham University, 2012 by Francis Lankester Dedication This thesis is dedicated to David Rohl-without whom it would never have been started, and to my mother-without whom it would never have been finished. Acknowledgements Above all, I would like to thank Margarita Díaz-Andreu and Penny Wilson for their tremendously hard work and necessary patience as my supervisors over the years of this study, and for guiding me in my academic research and writing. -
Early Dynastic Egypt
EARLY DYNASTIC EGYPT EARLY DYNASTIC EGYPT Toby A.H.Wilkinson London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. © 1999 Toby A.H.Wilkinson All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication Data Wilkinson, Toby A.H. Early Dynastic Egypt/Toby A.H.Wilkinson p. cm. Includes bibliographical references (p.378) and index. 1. Egypt—History—To 332 B.C. I. Title DT85.W49 1999 932′.012–dc21 98–35836 CIP ISBN 0-203-02438-9 Master e-book ISBN ISBN 0-203-20421-2 (Adobe e-Reader Format) ISBN 0-415-18633-1 (Print Edition) For Benjamin CONTENTS List of plates ix List of figures x Prologue xii Acknowledgements xvii PART I INTRODUCTION 1 Egyptology and the Early Dynastic Period 2 2 Birth of a Nation State 23 3 Historical Outline 50 PART II THE ESTABLISHMENT OF AUTHORITY 4 Administration 92 5 Foreign Relations 127 6 Kingship 155 7 Royal Mortuary Architecture 198 8 Cults and -
Bulletin De L'institut Français D'archéologie Orientale
MINISTÈRE DE L'ÉDUCATION NATIONALE, DE L'ENSEIGNEMENT SUPÉRIEUR ET DE LA RECHERCHE BULLETIN DE L’INSTITUT FRANÇAIS D’ARCHÉOLOGIE ORIENTALE en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne BIFAO 102 (2002), p. 17-61 Lucas Baqué-Manzano Further Arguments on the Coptos Colossi. Conditions d’utilisation L’utilisation du contenu de ce site est limitée à un usage personnel et non commercial. Toute autre utilisation du site et de son contenu est soumise à une autorisation préalable de l’éditeur (contact AT ifao.egnet.net). Le copyright est conservé par l’éditeur (Ifao). Conditions of Use You may use content in this website only for your personal, noncommercial use. Any further use of this website and its content is forbidden, unless you have obtained prior permission from the publisher (contact AT ifao.egnet.net). The copyright is retained by the publisher (Ifao). Dernières publications 9782724708288 BIFAO 121 9782724708424 Bulletin archéologique des Écoles françaises à l'étranger (BAEFE) 9782724707878 Questionner le sphinx Philippe Collombert (éd.), Laurent Coulon (éd.), Ivan Guermeur (éd.), Christophe Thiers (éd.) 9782724708295 Bulletin de liaison de la céramique égyptienne 30 Sylvie Marchand (éd.) 9782724708356 Dendara. La Porte d'Horus Sylvie Cauville 9782724707953 Dendara. La Porte d’Horus Sylvie Cauville 9782724708394 Dendara. La Porte d'Hathor Sylvie Cauville 9782724708011 MIDEO 36 Emmanuel Pisani (éd.), Dennis Halft (éd.) © Institut français d’archéologie orientale - Le Caire Powered by TCPDF (www.tcpdf.org) 1 / 1 Further Arguments on the Coptos Colossi Lucas BAQUÉ-MANZANO N 1894, in the course of excavations carried out by W.M.Fl. -
Syncretism: a Means and Method for Accurately Translating Km.T, Km.Tyw and Km
Syncretism: A Means and Method for Accurately Translating Km.t, Km.tyw and Km Reginald A. Mabry Independent Scholar [email protected] Abstract: This article is a reflection on the presentation offered at the 2019 Association for Classical African Civilizations (ASCAC) Conference where the origins and meaning of the word Km.t1 was debated. This examination seeks to identify syncretism as the proposed and superior method of interpreting ancient text, specifically the Medu Neter. Therefore, syncretism affords a more accurate understanding of the ancient texts of the Kimetiyu (Km.tyw). More specifically, the aim and objective of this article is to examine the origins of the Ancient Egyptian word Kemet (km.t) to highlight and establish its relationship to both, the black cattle and the “sacred” black people that the ancients referred to. This paper will discuss Kemet (Km, Km.t, Km.tyw ) glyphs with its transliterations.2 First, what is the meaning of Kemet (Km.t) ? Is the term related to black and people at all ? And why is Kemet (Km.t ) referred to as simply the black land by Western/ European scholars? Is the meaning of Kemet important to Pan-Africanist thinking and scholarship? To properly approach these research questions, I will incorporate the following qualitative research methodologies; Observation of ancient cultural and historical primary materials and narrative discourse analysis of primary and secondary data sources by way of archival collection and study. It must be noted that European Scholars are in the business of observation and creating narratives and discourse to give a Eurocentric and colonial meaning to Africa, its ancient civilizations and people, for the purposes of providing intellectual tools for the maintenance of their worldview and hegemony. -
Mostafa Elshamy © 2015 All Rights Reserved
Ancient Egypt: The Primal Age of Divine Revelation Volume I: Genesis Revised Edition A Research by: Mostafa Elshamy © 2015 All Rights Reserved Library of Congress United States Copyright Office Registration Number TXu 1-932-870 Author: Mostafa Elshamy Copyright Claimant and Certification: Mostafa Elshamy This volume, coinciding with momentous happenings in Egypt, is dedicated to: Al-Sisi: Horus of Truth and Lord of the Two Lands and The Egyptians who are writing an unprecedented chapter in the modern history of humanity Table of Contents Introduction ………………………………………………………………………. i-ii Chapter I Our Knowledge of the Ancient Egyptian Thoughts of the Spiritual Constituents of Man ……………………………………… 1 Chapter II The Doctrine of the Spirit …………………………………………. 16 - Texts embracing the Breath of Life ………………………………. 16 - Texts comprising Breathing Nostrils ……………………………… 18 - Texts substantiating Lifetime ……………………………………… 19 - The Breath of life: as a Metaphor ……………………………….. 20 - A Long-term Perplexity …………………………………………… 25 - The Tripartite Nature of Human ………………………………….. 27 - The Genuine Book of Genesis of Man …………………………..... 28 - Neith: the Holy Spirit ……………………………………………… 29 - Seshat and the Shen ……………………………………………….. 37 - The Egyptian Conception of "Sahu" ……………………………… 43 - Isolating the hieroglyph of Spirit ………………………………..... 49 Chapter III The Doctrine of the Soul ……………………………………………. 50 - The Louvre Palette ………………………………………………… 54 - The Oxford Palette ………………………………………………… 57 - The Hunters Palette ………………………………………………... 58 - The Battlefield Palette ……………………………………………. -
Before the Pyramids Oi.Ucicago.Edu
oi.ucicago.edu Before the pyramids oi.ucicago.edu before the pyramids baked clay, squat, round-bottomed, ledge rim jar. 12.3 x 14.9 cm. Naqada iiC. oim e26239 (photo by anna ressman) 2 oi.ucicago.edu Before the pyramids the origins of egyptian civilization edited by emily teeter oriental institute museum puBlications 33 the oriental institute of the university of chicago oi.ucicago.edu Library of Congress Control Number: 2011922920 ISBN-10: 1-885923-82-1 ISBN-13: 978-1-885923-82-0 © 2011 by The University of Chicago. All rights reserved. Published 2011. Printed in the United States of America. The Oriental Institute, Chicago This volume has been published in conjunction with the exhibition Before the Pyramids: The Origins of Egyptian Civilization March 28–December 31, 2011 Oriental Institute Museum Publications 33 Series Editors Leslie Schramer and Thomas G. Urban Rebecca Cain and Michael Lavoie assisted in the production of this volume. Published by The Oriental Institute of the University of Chicago 1155 East 58th Street Chicago, Illinois 60637 USA oi.uchicago.edu For Tom and Linda Illustration Credits Front cover illustration: Painted vessel (Catalog No. 2). Cover design by Brian Zimerle Catalog Nos. 1–79, 82–129: Photos by Anna Ressman Catalog Nos. 80–81: Courtesy of the Ashmolean Museum, Oxford Printed by M&G Graphics, Chicago, Illinois. The paper used in this publication meets the minimum requirements of American National Standard for Information Service — Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984 ∞ oi.ucicago.edu book title TABLE OF CONTENTS Foreword. Gil J. -
Italian Art at the Utah Museum of Fine Arts (UMFA) Spans Several Centuries, from the Late 1300S to the 1900S
Ursula M. Brinkmann Pimentel ITALIAN ART AT THE UTAH MUSEUM OF FINE ARTS A GUIDE TO THE COLLECTION Contributors: Elizabeth A. Peterson Martha A. Seiner Madelyn D. Garrett 1 Copyright © Ursula M. Brinkmann Pimentel 2000 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112, USA. This publication is made possible, in part, by generous support from Friends of the Art Museum and the Salt Lake City Arts Council. Accredited by the 2 CONTENTS Page Foreword ………………………………………………………..………………………………………………..9 Acknowledgments………………………………………………………………..………………………………10 Catalogue………………………………………………………………………………………………………...11 Explanation of Cataloguing Practices ………………...…………………………………………………………12 Cat. 1 Unknown Italian, Madonna and Child with Angels……………………………………………………..14 2 Unknown Italian, possibly Tuscan, Parchment Leaf from the Proper of Saints, Feast of the Nativity of St. John the Baptist (24 June), Matins, Third Nocturn…………………..……..18 3 Unknown Italian, possibly Tuscan, Parchment Leaf from the Common of Saints, Common of Several Martyrs, Matins, Second-Third Nocturns………………………...………………..21 4 Fra Filippo di Tomaso Lippi, Madonna and Child………………………………………………………23 5 Unknown Italian, Saint Cecilia…………………………………………………………………………..27 6 School of Andrea Mantegna, Entombment with Three Birds……………………………………………31 7 Daniel Hopfer, Battle between Two Tritons, after Andrea Mantegna…………………………………...35 8 Polidoro di Bartolomeo, Crucifixion with Saints (Virgin Mary, Mary Magdalen, St. John the Apostle, St. Francis of Assisi, -
Going Ape.Pdf
Going Ape! A Systems Anthropology By DerekHitchins i Going Ape! A Systems Anthropology by DerekHitchins iii To my beloved wife, without whom…very little v Contents PART 1. THE APE ASCENDS… 11 Chapter 1. Understanding the Human System 1 Chapter 2. Unique Human Features 11 Unique Physiology 11 Littoral tendencies? 12 Hunting potential 18 Evolutionary Psychology 20 Ovulation, Adipose Fat and Menopause 23 Human gestation 25 Successful Family Propagation System (SFPS) 25 Mismatches 29 Evolutionary Legacy 30 Chapter 3. The Ascent of the Ingenious Ape 31 Göbekli Tepe, 9559 ± 53BP, 9130–8800 BCE 32 Çatalhöyük, 7500-5700 BCE 34 Why Egypt? 35 Predynastic Egypt 35 Malta c.3600-2500 BCE 41 Dynastic Egypt 43 The Classical Period 57 The Industrial Revolution 58 PART 2. THE INGENIOUS APE TODAY 61 Chapter 4. The Human Condition 63 Understanding the Human Condition 63 Human Self-reflection 63 Life after Death – Heaven and Hell 64 Freedom 66 Democracy Vs. Ochlocracy Vs. Dictatorship 66 Chapter 5. Human Systems 69 Evolving Brain Size 69 Homeostasis 73 Chapter 6. Instinctual Human Behaviour 76 The Modern Hunter Gatherer 76 Human Body Language 77 Human Pheromones? 80 Chapter 7. Belief, Culture and Behaviour 85 Culture and Belief 85 Downward Causation 88 Belief and Behaviour 89 Belief and Decisions 92 The Generic Reference (Function) Model 94 vii PART 3. VIABLE HUMAN SYSTEMS 97 Chapter 8. “Designing” the Human Activity System 99 Design Difficulties 99 The Autonomous Peace Officer (APO) 99 The Business Enterprise 104 Command, Control, Communications and Intelligence (C3I) 105 Chapter 9. Society as emergence 107 Homo Sapiens Metropolis? 107 Social Dynamics 109 Political correctness 110 Atomization 110 Chapter 10. -
Icons in Time, Persons in Eternity
icons in time, persons in eternity Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non- representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia—inherent liveliness, expressive autonomy and self-subsisting form—are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art. Cornelia A. Tsakiridou is Associate Professor, Philosophy and Director, Diplomat-in-Residence Program, at La Salle University, Philadelphia, U.S.A. -
Review Of: Bestock, L. (2017). Violence and Power in Ancient Egypt
Review of: Bestock, L. (2017). Violence and Pow- focus on pictures of violence and not violence it- er in Ancient Egypt: Image and Ideology before self (pp. 7). This is a serious methodological prob- the New Kingdom. London: Routledge. 294 p., lem. Not only is other archaeological evidence, incl. 127 figs. ISBN 9781138685055 such as traces of trauma on skeletons, entirely ex- cluded from the discussion, but the complex rela- Uroš Matić tionship between text and image in ancient Egypt is not given enough attention. Textual record is “Violence and Power in Ancient Egypt. Image and no less discursive than iconographic record and Ideology before the New Kingdom” by Laurel Bestock including it in the study could have shed more is a new and exciting work on the representations light on the images. Bestock argues that the main of violence in ancient Egypt from the Early Dy- difference to later images of violence of the New nastic Period until the end of the Middle King- Kingdom is that these had a much larger aud- dom (c. 4000-1650 BC). It comes as an attractive ience than those from earlier periods. She leaves hardcover, counts 268 pages in 9 chapters, bi- us without the answer to the question: why? blio graphy, 10 pages of an index, and contains Chapter 2 “The origins of violent imagery” deals 127 figures (line drawings, and black and white with representations of violence from Naqada I photos), an impressive count, bearing in mind the and II. The earliest are those on White Cross-Line scope of the book. -
Azu Td 1346418 Sip1 M.Pdf
Kingship festival iconography in the Egyptian Archaic Period Item Type text; Thesis-Reproduction (electronic) Authors Dochniak, Craig Charles, 1964- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 21:35:29 Link to Item http://hdl.handle.net/10150/278001 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Poussin, Ballet, and the Birth of French Classicism COLUMBIA
Poussin, Ballet, and the Birth of French Classicism Emily A. Beeny Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Emily A. Beeny All rights reserved Abstract Poussin, Ballet, and the Birth of French Classicism Emily A. Beeny Examining a group of pictures painted in the early-to-mid 1630s, this dissertation sets out to demonstrate that Nicolas Poussin’s turn to the subject of dance helped him transform his style from the sensuous Venetian manner of his early years to the cool, crisp, relief-like approach that would characterize his mature work and form the basis for French Classicism in subsequent decades. Painting dancers allowed Poussin to work through the problem of arresting motion, to explore the affective potential of the body represented, and to discover a measured, geometric compositional method capable of containing and harnessing that potential. The resulting pictures, painted in Rome, were warmly received in Paris by a group of early collectors that included dancers, patrons, amateurs, and theorists of another modern French art: the ballet de cour. Ballet’s cultivation of a fiercely controlled physicality, its wild Dionysian characters and learned Apollonian conceits, above all, its insistence on a hidden geometric order underlying the chaos of embodied experience primed early French observers of Poussin’s dancing pictures to recognize something of themselves in his new approach. Though Poussin did not set out to define French Classicism, and though his brief service as premier peintre to Louis XIII demonstrates how ill-suited he was to the role of official artist, the fact that his dancing pictures shared so much—on the level of patronage, iconography, even, perhaps, theoretical underpinnings— with the ballet de cour may help explain why these works (and, indeed, Poussin himself) were so eagerly appropriated by France in the Classical Age.