The Sea Peoples are generally assumed to be a loose confederation of clans that first appeared in the historical record in the 14th century B.C.E. Over a century of scholarship has puzzled over whether they were responsible for the collapse of several Late Bronze Age civilizations or simply one of several catalysts that put that collapse in motion. Many attempts have also been made to determine the origins of the various groups of Sea Peoples using textual and iconographic evidence, as well as the material culture of the Sea Peoples identified in Cyprus and the Levant. This material culture is characterized foremost by locally made Mycenaean-style pottery; as such, a considerable Aegean or Mycenaean presence has been argued in the multi-ethnic Sea Peoples coalition. The most important visual record that survives of the Sea People documents a land and sea battle against the forces of Ramesses III in the early 12th century B.C.E. and is recorded on the walls of the pharaoh's mortuary temple at Medinet Habu. In 1964 a connection was first proposed between the distinctive ships of the Sea Peoples in the Medinet Habu naval battle relief, with their high, angular stem- and stern- posts topped with outward-facing water-bird heads, and the vogelbarke, or bird-boat, of Late Bronze Age Central European religious iconography. Too little is still understood of both the vogelbarke tradition and the maritime abilities of Bronze Age Central European populations to conclusively state at this time that a vogelbarke-like vessel could have plied the waters of the eastern Mediterranean during the Late Bronze Age. However, additional archaeological evidence suggests a Central European mercenary presence in Mycenaean Greece during the period of Sea Peoples activity, as well as Central European participation in the multi-ethnic coalition reflected particularly in the material culture of the Sea Peoples identified in Cyprus. This evidence strengthens the possibility that the vogelbarke-like vessel some scholars claim to see at Medinet Habu is indeed not a "duck out of water."

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-02T13:24:58Z No. of bitstreams: 1 ArthurRodriguesFabricio_DISSERT.pdf: 2721207 bytes, checksum: 4838cd2be3cba600e09f5feae3dc3c52 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-08T18:09:49Z (GMT) No. of bitstreams: 1 ArthurRodriguesFabricio_DISSERT.pdf: 2721207 bytes, checksum: 4838cd2be3cba600e09f5feae3dc3c52 (MD5) / Made available in DSpace on 2017-02-08T18:09:49Z (GMT). No. of bitstreams: 1 ArthurRodriguesFabricio_DISSERT.pdf: 2721207 bytes, checksum: 4838cd2be3cba600e09f5feae3dc3c52 (MD5) Previous issue date: 2016-08-29 / Ramess?s III (1187 ? 1157 a.C.), segundo fara? da XX dinastia eg?pcia, reinou durante a passagem da Idade do Bronze para a Idade do Ferro, no contexto de um delicado clima pol?tico e social, com tentativas de invas?o por estrangeiros, greves de trabalhadores e uma tentativa de regic?dio em meio a um golpe de estado. Apesar das adversidades, este fara? foi o respons?vel pela constru??o de um suntuoso complexo de culto real, em Medinet Habu, a ?ltima grande estrutura monumental erigida no Novo Imp?rio. Neste espa?o sagrado, um dos exemplos mais bem conservados da estrutura axial templ?ria da ?poca, re?ne-se grande parte da heran?a cultural eg?pcia do per?odo, seus padr?es art?sticos, arquitet?nicos, escult?ricos, seus mitos, anseios e rituais, suas cren?as no p?s-vida e na fun??o do fara?, principal mediador entre as esferas divina e humana. Neste sentido, com base no conceito de mem?ria cultural, este trabalho tem por objetivo realizar uma an?lise do templo memorial de Ramess?s III, por meio de suas iconografias e de suas inscri??es, buscando demonstrar como este pode ter sido utilizado para perpetuar uma mem?ria de longa dura??o da sociedade eg?pcia e de seus valores, ressaltando os diversos tipos de recursos e estrat?gias que foram adotados neste espa?o para a consolida??o deste projeto rememorativo e da autoimagem de Ramess?s III ? ?poca. / Ramesses III (1187 ? 1157 BC), the second pharaoh of the XX Egyptian dynasty, reigned during the transition from the Bronze Age to the Iron Age, in the context of a delicate political and social climate, with invasion attempts by foreigners, workers? strikes and an attempted regicide in the midst of a coup d?etat. Despite the adversities, this Pharaoh was the responsible for the construction of a sumptuous royal cult complex at Medinet Habu, the last large monumental structure erected in the New Kingdom. In this sacred space, one of the best preserved examples of templar axial structure of the time, gathers much of the Egyptian cultural heritage of the period, its artistics and architectural patterns, sculptural models, their myths, anxieties and rituals, its beliefs in the afterlife and the roles of the Pharaoh as the main mediator between the divine and the human spheres. Considering this, based on the cultural memory concept, this work aims to realize an analysis of the memorial temple of Ramesses III, through its iconographies and its inscriptions, searching to demonstrate how this may have been used to perpetuate a long-term memory of Egyptian society and its values, highlighting the different types of resources and strategies that have been adopted in this space to the consolidation of this remembrance project and of the self-image of Ramesses III at the time.