The purpose of this study is to investigate the social networks and mobility of officials related to the provincial towns of Elkab, Hierakonpolis and Edfu in southern Upper Egypt. It analyses their sphere of influence in Egypt and Nubia against the backdrop of the Second Intermediate Period and the early New Kingdom. A prosopographical methodological approach is applied with Social Network Analysis as a theoretical framework. Based on epigraphic sources on which the southern Upper Egyptian officials are attested, the prosopography displays that a number of them were highly mobile within the confines of the Egyptian territory of the Second Intermediate Period. In the early New Kingdom, these officials also became attested in Nubia. Furthermore, the Social Network Analysis reveals that officials from the towns were well-connected locally with each other. Periodically, these officials were also closely linked to the central administration. / Syftet med denna studie är att undersöka ämbetsmän relaterade till de provinsiella städerna Elkab, Hierakonpolis och Edfu i södra övre Egypten, deras sociala nätverk och geografiska förflyttning. Den analyserar deras sfär av inflytande i Egypten och Nubien under andra mellantiden och det tidiga nya riket. En prosopografisk metod har tillämpats med social nätverksanalys som teoretiskt ramverk. Prosopografin som baseras på epigrafiska källor där ämbetsmän från södra övre Egypten är omnämnda visar på att ett antal var betydligt mobila inom det egyptiska territoriets gränser under andra mellantiden. Under det tidiga nya riket påträffas dessa ämbetsmän även i Nubien. Den sociala nätverksanalysen visar dessutom på att ämbetsmän från de tre städerna bibehöll kontakter med varandra lokalt. Periodvis var dessa ämbetsmän även sammanknippade med centraladministrationen.

Grande parte da arte pública do Estado Novo compreendia monumentos e estátuas destinados a mostrar ao povo determinadas passagens ou personagens representativas da história nacional. A Escultura foi a expressão plástica mais solicitada para materializar o discurso do regime nos espaços públicos das cidades portuguesas. O Estado Novo considerava a estatuária pública como o veículo privilegiado para tornar perene, em largos, praças e edifícios, determinados símbolos da nação, produtos derivados da proposta estética que fôra mediatizada na Exposição do Mundo Português. Em Lisboa, actuaram principalmente o Ministério das Obras Públicas e a Câmara Municipal, que possuíam uma dotação própria para as encomendas dirigidas aos espaços públicos, uma iniciativa, na altura, presente em outros estados autoritários ou democráticos, que promoviam projectos associados às Obras públicas – eram os casos de Itália, Espanha ou EUA, com a iniciativa Public Works Art Project (1933). A encomenda de arte pública estava alicerçada num conjunto de procedimentos, enquadrados pelas Administrações Local e Central, que se designam, nesta investigação, como sistemas de encomenda de arte pública. Estes procedimentos eram assistidos por conselhos consultivos e comissões de estética, destinados a velar pela homogeneidade da encomenda pública. Apoiando-se nestes sistemas de arte pública, as Administrações Central e Local vieram não só promover a encomenda de monumentos, estátuas e motivos decorativos, como também a travar iniciativas em curso e a impedir novas propostas estranhas ao poder vigente. Pairando sobre a rotina que caracterizava os sistemas de encomenda de arte pública estava Oliveira Salazar, capaz de interferir nos sistemas e manobrar, desviar ou cessar o curso das encomendas de monumentos e estátuas. Palavras-chave: sistemas de encomenda de arte pública, Estado Novo, Lisboa / Public Art of Central and Local Administration of the New State in Lisbon: Systems of public art orders of Lisbon City Council and of the Ministry of Public Works (1938-1960) Much of the public art of the New State were mainly statues and monuments which were produced to represent images of the nation historical past. Sculpture was then the suitable artistic expression to portray such nationalist subjects into public spaces all over the country. In Lisbon, the Ministry of the Public Works and the City Council had a specific budget for public art orders, as in many totalitarian or democratic states promoting Public Works of Arts project funding. Public art orders were conducted, within the framework of Local and Central Administration, through sets of procedures meant to control and standardize it accordingly to the political and ideological speech of the New State. These sets of procedures are named in this thesis as systems of public art orders. They were promoted by advisory boards and aesthetical commissions whose role was to ensure homogeneity of public orders. Based on these systems of public art orders, Local and Central Administration not only promoted orders for monuments, statuary and decorative motifs but managed to prevent any kind of state initiatives not aligned with the political regime. Oliveira Salazar effectively overviewed the procedures inherent to the systems of public art. He was able to interfere at every level in the procedures, stir out of course or simply halt the orders of monuments and statues. Key-words: systems of public art orders, New State, Lisbon