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Vanessa Fronza Horemheb, O Escolhido De Rá: Legitimação E Identidade Faraônica No Fim Do Período Amarniano Curitiba 2015
VANESSA FRONZA HOREMHEB, O ESCOLHIDO DE RÁ: LEGITIMAÇÃO E IDENTIDADE FARAÔNICA NO FIM DO PERÍODO AMARNIANO CURITIBA 2015 VANESSA FRONZA HOREMHEB, O ESCOLHIDO DE RÁ: LEGITIMAÇÃO E IDENTIDADE FARAÔNICA NO FIM DO PERÍODO AMARNIANO Linha de Pesquisa: Cultura e Poder Dissertação apresentada ao Programa de Pós-graduação em História. Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná como requisito parcial à obtenção do diploma de mestre. Professor orientador: Dr. Renan Frighetto CURITIBA 2015 AGRADECIMENTOS Dos inúmeros motivos que temos para agradecer diariamente, tenho aqui o desafio de elencar alguns deles, relacionados à realização desse trabalho de conclusão do Mestrado. Sendo assim, não minimizo a importância de cada uma das pessoas com quem compartilhei os últimos dois anos de vida, porém, utilizando nestes agradecimentos o critério do acompanhamento mais próximo do desenvolvimento dessa dissertação, selecionei algumas pessoas a quem eu gostaria de expressar de maneira personalizada a minha gratidão. Primeiramente, agradeço àqueles que tornaram minha formação possível: a meus pais, devo todo o suporte recebido desde que saí de casa para iniciar meus estudos há alguns milhares de quilômetros. Gostaria de citar especialmente minha mãe, minha fortaleza. Graças a sua energia e dedicação, a construção paulatina de tudo o que fui, sou e serei pôde se realizar. Sem ela, reinaria o nada absoluto. Por sua força, doação e exemplo de persistência, minha eterna gratidão. Meus agradecimentos se voltam também aos que se envolveram diretamente com as atividades desenvolvidas durante o período de Mestrado, começando pelo meu orientador, Prof. Renan Frighetto, pelo seu constante apoio e inabalável confiança, pelas discussões e conselhos teórico- metodológicos, e por me acompanhar desde 2008 numa pesquisa temporalmente muito distante de sua Hispania visigoda. -
A Natural History of the Ducks
Actx^ssioiis FROM THE Accessions Fl!C).\l TlIK Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/naturalhistoryof01phil A NATUEAL HISTORY OF THE DUCKS IN FOUR VOLUMES VOLUME I THE DUCK MARSH A NATURAL HISTORY OF THE DUCKS BY JOHN C. PHILLIPS ASSOCIATE CUBATOR OF BIRDS EST THE MUSEUM OF COMPARATIVE ZOOLOGY AT HARVARD COLLEGE WITH PLATES IN COLOR AND IN BLACK AND WHITE FROM DRAWINGS BY FRANK W. BENSON, ALLAN BROOKS AND LOUIS AGASSIZ FUERTES VOLUME I PLECTROPTERINM, DENDROCYGNINM, ANATINM (m part) BOSTON AND NEW TOEK HOUGHTON MIFFLIN COMPANY @D|)e Eitiereilie l^xtm CamiiTtlisc 1922 COPYRIGHT, 1922, BY JOHN C. PHILLIPS ALL EIGHTS RESERVED 16 CAMBRIDGE • MASSACHUSETTS PRINTED IN THE U.S.A. ACKNOWLEDGMENT To Mr. William L. Langer, whose knowledge of languages and bibliography- has been indispensable, I owe a lasting debt for many summers of faithful work. Major Allan Brooks and Louis Agassiz Fuertes have given much time and thought to their drawings and have helped me with their gen- eral knowledge of the Duck Tribe. Dr. Glover M. Allen has devoted val- uable time to checking references, and his advice has served to smooth out many wrinkles. To Frank W. Benson, who has done so much in teaching us the decorative value of water-fowl, I owe the frontispiece of this first volume. Lastly I must say a word for the patient and painstaking manner in which many naturalists and sportsmen have answered hun- dreds of long and tedious letters. John C. Phillips Wenham, Massachusetts November, 1922 COPYRIGHT, 1922, BY JOHN C. -
Creativity and Innovation in the Reign of Hatshepsut
iii OCCASIONAL PROCEEDINGS OF THE THEBAN WORKSHOP Creativity and Innovation in the Reign of Hatshepsut edited by José M. Galán, Betsy M. Bryan, and Peter F. Dorman Papers from the Theban Workshop 2010 2014 studies in ancient ORientaL civiLizatiOn • numbeR 69 THE ORIENTAL INSTITUTE of THE UNIVERSITY of CHICAgo chicagO • IllinOis v Table of Contents List of Abbreviations .............................................................................. vii Program of the Theban Workshop, 2010 Preface, José M. Galán, SCIC, Madrid ........................................................................... viii PAPERS FROM THE THEBAN WORKSHOP, 2010 1. Innovation at the Dawn of the New Kingdom. Peter F. Dorman, American University of Beirut...................................................... 1 2. The Paradigms of Innovation and Their Application to the Early New Kingdom of Egypt. Eberhard Dziobek, Heidelberg and Leverkusen....................................................... 7 3. Worldview and Royal Discourse in the Time of Hatshepsut. Susanne Bickel, University of Basel ............................................................... 21 4. Hatshepsut at Karnak: A Woman under God’s Commands. Luc Gabolde, CNRS (UMR 5140) .................................................................. 33 5. How and Why Did Hatshepsut Invent the Image of Her Royal Power? Dimitri Laboury, University of Liège .............................................................. 49 6. Hatshepsut and cultic Revelries in the new Kingdom. Betsy M. Bryan, The Johns Hopkins -
OS FEITOS MILITARES NAS BIOGRAFIAS DO REINO NOVO: Ideologia Militarista E Identidade Social Sob a XVIIIª Dinastia Do Egito Antigo.(1550 – 1295 A.C.)
UNIVERSIDADE FEDERAL FLUMINENSE CENTRO DE ESTUDOS GERAIS INSTITUTO DE CIÊNCIAS HUMANAS E FILOSOFIA PÓS-GRADUAÇÃO EM HISTÓRIA NELY FEITOZA ARRAIS OS FEITOS MILITARES NAS BIOGRAFIAS DO REINO NOVO: Ideologia militarista e identidade social sob a XVIIIª dinastia do Egito Antigo. 1550 – 1295 a.C. NITERÓI 2011 NELY FEITOZA ARRAIS OS FEITOS MILITARES NAS BIOGRAFIAS DO REINO NOVO: Ideologia militarista e identidade social sob a XVIIIª dinastia do Egito Antigo.(1550 – 1295 a.C.) Tese apresentada ao Programa de Pós- Graduação Stricto Sensu em História da Universidade Federal Fluminense, como requisito parcial para a obtenção do Grau de Doutor. Área de Concentração: História Social. Setor Temático Cronológico: História Antiga. Linha de Pesquisa: Cultura e Sociedade. Orientador: Prof.º Dr.º CIRO FLAMARION SANTANA CARDOSO Niterói 2011 2 Ficha Catalográfica elaborada pela Biblioteca Central do Gragoatá A773 Arrais, Nely Feitoza. OS FEITOS MILITARES NAS BIOGRAFIAS DO REINO NOVO: ideologia militarista e identidade social sob a XVIIIª dinastia do Egito Antigo. 1550 a 1295 a.C. / Nely Feitoza Arrais. – 2011. 245 f. ; il. Orientador: Ciro Flamarion Santana Cardoso. Tese (Doutorado) – Universidade Federal Fluminense, Instituto de Ciências Humanas e Filosofia, Departamento de História, 2011. Bibliografia: f. 238-245. 1. História do Egito. 2. Militarismo. 3. Ideologia. 4. Identidade social. 5. Biografia. 6. Poder. 7. Política. I. Cardoso, Ciro Flamarion Santana. II. Universidade Federal Fluminense. Instituto de Ciências Humanas e Filosofia. III. Título. CDD 932 3 NELY FEITOZA ARRAIS OS FEITOS MILITARES NAS BIOGRAFIAS DO REINO NOVO: Ideologia militarista e identidade social sob a XVIIIª dinastia do Egito Antigo.(1550.1295 a.C.) Tese apresentada ao Programa de Pós- Graduação Stricto Sensu em História da Universidade Federal Fluminense, como requisito parcial para a obtenção do Grau de Doutor. -
Ä G Y P T I S C H E
Ä g y p t i s c h e Geschichte Ä g y p t e n Ägyptische Genealogie und Geschichte nach Erkenntnis von Gotthard Matysik Pharao Tutanchamun Pharaonen-Thron Nofretete Ägyptologen: Champollion Jean Francois (Franzose), entzifferte 1822 die ägyptischen Hieroglyphen Belzoni (Italiener), der Sammler Lepsius (Deutscher), der Ordner Mariette (Franzose), der Bewahrer Petrie (Engländer), der Messende u. Deuter Schlögl (Schweiz) Historiker der Geschichte Ägyptens: Manetho, ägyptischer Hohepriester in Heliopolis, * in Sebennytos im 3. Jahrhundert v. Chr., Verfasser einer nicht original überlieferten Pharaonengeschichte mit ihrer Einteilung in 30 Dynastien. Diodorus Sicullus, aus Sizilien, griechischer Historiker, 1. Jahrhundert v. Chr., Verfasser einer ägyptischen Geschichte Prf. Kenneth Kitchen (Ägyptologe). Verfasser des „The Third Intermediate Period in Egypt“ von 1973 Dr. David Rohl, Verfasser von „Pharaonen u. Propheten“ u. „Das Alte Testament auf dem Prüfstand“ von 1996 Herrscher in ä g y p t e n Stufenmastaba von König Djoser Felsentempel von Abu Simbel Das Schwarze Land (ägyptisch: Kemet) war der Wohnsitz des Horus, eines lebenden Königs u. seiner göttlichen Mutter Isis. Das Rote Land (ägyptisch: Deschret), die riesige Wüste, das Reich der Gefahr u. des Unheils, regiert von Seth (ägyptisch: Set Sutech), dem Gott des Chaos. Pharao (Titel) = par-o = großes Tor (ähnlich der „hohen Pforte) Vordynastische Periode vor 3200 bis 3150 vor Chr. um 3400 v. Chr. Onyxkopfstandarte Fingerschnecke Fisch Pen-abu um 3300 Elefant Funde könnten seinen Namen tragen, Lesung unsicher. Stier um 3250 Rinderkopfstandarte, vermutl. Kleinkönig von Skorpion I. besiegt. Skorpion I. um 3250 v. Chr. Skorpion I. in Oberägypten. Schrift und Bewässerungsanlagen wurden eingeführt. Grab in Abydos 1988 entdeckt. -
The Gazelle in Ancient Egyptian Art Image and Meaning
Uppsala Studies in Egyptology - 6 - Department of Archaeology and Ancient History Uppsala University For my parents Dorrit and Hindrik Åsa Strandberg The Gazelle in Ancient Egyptian Art Image and Meaning Uppsala 2009 Dissertation presented at Uppsala University to be publicly examined in the Auditorium Minus of the Museum Gustavianum, Uppsala, Friday, October 2, 2009 at 09:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Abstract Strandberg, Åsa. 2009. The Gazelle in Ancient Egyptian Art. Image and Meaning. Uppsala Studies in Egyptology 6. 262 pages, 83 figures. Published by the Department of Archaeology and Ancient History, Uppsala University. xviii +262 pp. ISSN 1650-9838, ISBN 978-91-506-2091-7. This thesis establishes the basic images of the gazelle in ancient Egyptian art and their meaning. A chronological overview of the categories of material featuring gazelle images is presented as a background to an interpretation. An introduction and review of the characteristics of the gazelle in the wild are presented in Chapters 1-2. The images of gazelle in the Predynastic material are reviewed in Chapter 3, identifying the desert hunt as the main setting for gazelle imagery. Chapter 4 reviews the images of the gazelle in the desert hunt scenes from tombs and temples. The majority of the motifs characteristic for the gazelle are found in this context. Chapter 5 gives a typological analysis of the images of the gazelle from offering processions scenes. In this material the image of the nursing gazelle is given particular importance. Similar images are also found on objects, where symbolic connotations can be discerned (Chapter 6). -
Creativity and Innovation in the Reign of Hatshepsut
iii OccasiOnal prOceedings Of the theban wOrkshOp creativity and innovation in the reign of hatshepsut edited by José M. Galán, Betsy M. Bryan, and Peter F. Dorman Papers from the Theban Workshop 2010 The OrienTal insTiTuTe OF The universiTy OF ChiCaGO iv The Oriental Institute, Chicago © 2014 by The university of Chicago. all rights reserved. Published 2014. Printed in the united states of america. series editors Leslie Schramer and Thomas G. Urban with the assistance of Rebecca Cain Series Editors’ Acknowledgment Brian Keenan assisted in the production of this volume. Cover Illustration The god amun in bed with Queen ahmes, conceiving the future hatshepsut. Traced by Pía rodríguez Frade (based on Édouard naville, The Temple of Deir el Bahari Printed by through Four Colour Imports, by Lifetouch, Loves Park, Illinois USA The paper used in this publication meets the minimum requirements of american national standard for information services — Permanence of Paper v table of contents Preface. José M. Galán, Spanish National Research Council, Madrid ........................................... vii list of abbreviations .............................................................................. xiii Bibliography..................................................................................... xv papers frOm the theban wOrkshOp, 2010 1. innovation at the Dawn of the new Kingdom. Peter F. Dorman, American University of Beirut...................................................... 1 2. The Paradigms of innovation and Their application -
New Tendencies on the Research of Ancient Egyptian Art Inmaculada VIVAS SÁINZ
The Artist in his Context: New Tendencies on the Research of Ancient Egyptian Art Inmaculada VIVAS SÁINZ This article explores the role of the artist in ancient Egypt in his social and cultural context, analysing a diversity of sources, that could help understand how Egyptian artists worked and how they made their artworks, especially focusing on the New Kingdom. In the past years new investigations have analysed the paintings, the teamwork of the painters and the variety of techniques they used. Other researchers have tried to reproduce the conditions in which the artists worked in a tomb, following an experimental approach. The importance of studying the corpus of varied figurative ostraca is also remarked, as they could be highly useful to understand the painter’s work and his production. The answer to many questions regarding the ancient Egyptian artworks could be in the analysis of the creative process of the artists, conditioned by the strong artistic tradition but looking for originality, which reveals their individuality. El presente artículo incide en la necesidad de estudiar la figura del artista del Egipto antiguo en su contexto social y cultural, a través un conjunto de fuentes diversas que pueden ayudarnos a conseguir una visión más realista de cómo trabajaban y realizaban sus obras, en especial durante el Reino Nuevo. En los últimos años se han desa- rrollado novedosas investigaciones que analizan las obras de los pintores, su manera de trabajar en equipo y sus técnicas, o que tratan de reproducir las condiciones materiales de trabajo en una tumba con un enfoque experi- mental. -
Art and Eternity: Nefertari Wall Paintings
Original Painting Techniques and Materials Used in the Tomb of Nefertari STEPHEN RICKERBY The tomb of Nefertari, favorite wife of Rameses II, is justly OPPOSITE. CHAMBER G, EAST famous for the importance and quality of its wall paintings. WALL. OSIRIS (LEFT) AND ATUM (RIGHT), SEPARATED BY A MAGIC Other monuments associated with Nefertari certainly demo FAN OF PROTECTION. SYMBOLS OF onstrate more explicitly the queen's prominent political DIVINE POWER APPEAR IN A VERTI role in Nineteenth Dynasty Egypt, such as her temple at CAL COLUMN BEHIND ATUM. Abu Simbel where she is uniquely represented in the same size as the king. The vast building and restoration program that Rameses II initiated also fully conveys the revitalized power his reign brought to Egypt. But it is in Nefertari's tomb paintings, with their unrivaled combination of both artistic superiority and spontaneity, that an aesthetic high point is reached in the Ramesside era. This outstanding cultural importance and, formerly, the critical state of preservation of the paintings, have long been incentives for various scientific and other inves tigations aimed primarily at finding solutions for the com plex problems of conserving the tomb.1 These endeavors have also provided information on the original techniques and materials employed in the wall paintings; but, in com mon with other Theban tombs of the New Kingdom, much knowledge has been derived too simply from empirical observations. In the relative absence of more detailed technical studies and scientific analyses of individual tombs, variations and idiosyncrasies of execution have no doubt been overlooked.2 Conservation treatment not only allows for the possibility of discovering details of tech nique that were never intended to be revealed, but it is also the one opportunity to correlate acquired analytical information with firsthand observations. -
Hieratic Ostraca of the Ramesside Period in the Egyptian Museum, Cairo: Documentation, Classification and Commentary
HIERATIC OSTRACA OF THE RAMESSIDE PERIOD IN THE EGYPTIAN MUSEUM, CAIRO: DOCUMENTATION, CLASSIFICATION AND COMMENTARY by ABDEL RAHMAN SALAH HAFEZ ABDEL SAMIE A thesis submitted to The University of Birmingham For the Degree of MPhil in Egyptology Institute of Archaeology and Antiquity School of Historical Studies The Birmingham University October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract We have dealt in this dissertation with 31 ostraca from the Valley of the Kings with various texts. They all attribute to Th. Davis and Carter/ Carnarvon’s excavations. They can classify into administrative, literary, Funny-signs and few jar labels. From this spectrum of contents, we may understand that the Valley of the Kings was not merely such sacred and inaccessible area surrounded by walls as used to be described by some scholars. Coordinated minor institutions may have probably based therein, being administered by a large headquarter settled somewhere in western Thebes. These small administrative stations were in charge of preparing works to be executed into some group of tombs in the vicinity. That can explain the reason why we find some artefacts of a certain king somewhere else other than the area where his tomb is located. -
1. the 14Th Dynasty Only Ruled Lower Egypt (Northern Egypt)
1. The 14th Dynasty only ruled Lower Egypt (Northern Egypt). Upper Egypt or Southern Egypt had its own dynasties at the time. The 13th dynasty ruled Upper Egypt concurrently with the 14th dynasty in Egypt. The 14th dynasty was established by waves of immigrants from the levant. The 12th Dynasty of Egypt came to an end at the end of the 19th century BC with the death of Queen Sobekneferu (1806–1802 BC). Apparently she had no heirs, causing the 12th dynasty to come to a sudden end, and, with it, the Golden Age of the Middle Kingdom; it was succeeded by the much weaker 13th Dynasty. Retaining the seat of the 12th dynasty, the 13th dynasty ruled from Itjtawy ("Seizer-of-the-Two-Lands") near Memphis and Lisht, just south of the apex of the Nile Delta. The 13th dynasty is notable for the accession of the first formally recognised Semitic-speaking king, Khendjer ("Boar"). The 13th Dynasty proved unable to hold on to the entire territory of Egypt however, and a provincial ruling family of Western Asian descent in Avaris, located in the marshes of the eastern Nile Delta, broke away from the central authority to form the 14th Dynasty. The first kings of the 14th Dynasty appear to have had fairly long and prosperous reigns. Despite their foreign origins, they adopted the traditional royal titulary, and included the name of the Egyptian solar god Re into their own throne names. This dynasty also seems to have had very good relationships with Nubia and at least one of its kings, Sheshi, may have been married to a Nubian princess. -
The Chapel of Hatshepsut As an Inspiration for the Theban Tombs Decoration the Case of TT 39 (Puyemre) 654 ANASTASIIA STUPKO-LUBCZYŃSKA
INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXVI 2013 ANASTASIIA STUPKO-LUBCZYŃSKA The Chapel of Hatshepsut as an Inspiration for the Theban Tombs Decoration The Case of TT 39 (Puyemre) 654 ANASTASIIA STUPKO-LUBCZYŃSKA The Chapel of Hatshepsut, situated in the Royal Cult Complex on the third terrace of the Hatshepsut Temple at Deir el-Bahari (E. Naville’s ‘Southern Hall of Offerings’1), when its architecture and decoration is concerned, presents undoubtedly an effect of inspiration by the sanctuaries of Old and Middle Kingdom mortuary temples,2 the canon of which was established during the reign of Sahure. At the same time the reliefs in the Chapel itself constituted an inspiration for the decoration of tombs built simultaneously in the Theban Necropolis. The best example of such a reference is the tomb built for Puyemre (TT 39), the second priest of Amon under Hatshepsut and Thutmose III. The architecture of this tomb with its columned portico and transverse hall leading to three chapels is unique compared to typical T-shaped tombs of the Eighteenth Dynasty.3 The prime example of the reference to the Hatshepsut Chapel decoration is an A/B offering list placed in TT 39 on the southern wall of its northern chapel, which is a coun- terpart of two symmetrical versions of the list, located on its western part of the southern and northern walls of the Chapel (Fig. 2a-b).4 All three examples written in three registers with 50 columns each, incorporated two texts: the CT spell 607, an integral part of the fi rst register5 and the composition originating from the Pyramid Texts, added to the end of the third register (Fig.