Les temples égyptiens de Doukki Gel, à Kerma (Soudan), ont été bâtis sous le règne de Thoutmosis Ier, au centre d’un ensemble religieux et cérémoniel du Kerma Classique. Les fouilles du site ont livré de grandes quantités de céramiques, dont l’étude constitue la matière de cette thèse. De concert avec l’analyse stratigraphique et l’épigraphie, l’approche typologique de la poterie, premier axe de recherche, a contribué à la datation de nombreux contextes archéologiques. Par ailleurs, six phases de développement ont été mises en évidence, au sein du corpus céramique du Nouvel Empire, depuis la fin du Kerma Classique. Le second axe de recherche, l’analyse technologique, basée principalement sur le système dit « de Vienne », a permis de définir des variantes locales des pâtes de tradition égyptienne, alors que la tradition Kerma a fait l’objet d’un système de classification particulier. L’étude indique que la grande majorité du matériel des deux traditions était fabriqué localement, et révèle des influences réciproques entre Nubiens et Égyptiens, dues à la situation singulière de ce site. Une analyse des données quantitatives du matériel récolté dans différents secteurs permet en outre de proposer une identification fonctionnelle des espaces et de la circulation des denrées dans le cadre des activités cultuelles, au sein de trois organisations architecturales successives. Ces données suggèrent également une longue survivance de la tradition Kerma déclinante, à l’échelle locale ou régionale, pendant le Nouvel Empire. / The Egyptian temples at Dokki Gel, Kerma (Sudan), were built during the reign of Thutmose I, in the heart of a Classic Kerma religious and ceremonial compound. The excavations of the site have yielded a huge number of potsherds whose study constitute the focus of this thesis. The typological approach, combined with stratigraphic analysis and epigraphy, has allowed the dating of many archaeological contexts. Moreover, six development phases within the New Kingdom ceramic corpus were identified, starting at the end of the Classic Kerma. The technological analysis, relying mainly on the so-called « Vienna System », led to the definition of local variants of egyptian pottery fabrics, whereas the Kerma material had to be classified separately. A large majority of pottery from both traditions was most likely produced locally and shows signs of mutual influences between Nubians and Egyptians. Analysis of the quantitative data of ceramic assemblages gathered from various sectors brings us to an identification of probable space functions, and movement of commodities within the framework of temple cult ativities and according to three successive architectural organizations. They also suggest a long period of survival of the declining Kerma pottery tradition, during the New Kingdom.

Lenka Suková Abstract of Dissertation 1 THE ROCK ART OF NORTHEAST AFRICA: A CASE STUDY OF THE ROCK PAINTINGS FROM THE CZECHOSLOVAK CONCESSION IN LOWER NUBIA Lenka Suková ABSTRACT OF DISSERTATION The study I hereby submit as a dissertation is part of my long-term project aimed at a critical evaluation of the rock-art and archaeological evidence gathered in two sections of the Nile Valley in Lower Nubia by the Czechoslovak expedition working in the framework of the UNESCO-organised salvage campaign. The study, published in 2011 as a separate monograph, is concerned only with occurrences of rock paintings and coloured (incrusted) petroglyphs in the two research area. The nine shelters treated herein constitute only 0.64 % in the whole corpus from the Czechoslovak concession predominated by petroglyphs - just as in most of Northeast Africa - of varied themes, styles, and dates. Nevertheless, this painted corpus is a valuable collection that, as opposed to petroglyphs, represents works that were more demanding from the technical point of view and require detailed analysis of technical aspects, is more amenable to stylistic analysis, and, last but not least, the colour scheme itself plays part in interpretation (for instance, in the case of white, probably linen kilts or tunics in two of the shelters - 17 R XIII,...

This thesis discusses three bronze oil lamps found in the ancient city of Meroë, in the collection of the Museum of Fine Arts, Boston. Scholars have considered the lamps to be imported from Hellenistic Egypt, but careful examination has revealed that the lamps were not imported. The lamps were locally made in Meroë; the materials and technology needed to create bronze lamps were available to Meroitic craftsmen.

The subject of the diploma thesis is a data completion and evaluation of the finds of copper tools and model tools in the 3rd Millennium BC, in the Early Dynastic Period, Old Kingdom and First Intermediate Period, in Egypt and Nubia. The first part of the thesis contains subject definition, chronological and chorological definitions and short introduction in the copper metallurgy of Ancient Near East and Egypt in the examined periods. The thesis is based on the catalogue of the archaeological contexts, the description of method and structure is followed by the synthesis of facts about archaeological context of finds. The main part of the thesis is a register of tool classes, examining their chronology, morphology and selectively also the occurrence in other sources. The conclusion brings together the facts and delineates the role of copper tools and model tools in the Ancient Egyptian society of the examined periods.

More than one generation of Nubians have been living dispersed in various locations in Egypt. Decades after the latest 1964 displacement and the memory of the lost homeland does not seem to fade. Focusing on the memory of Old Nubia among younger generations, this research examines how they (re)construct their ethnic identity away from their ancestral homeland. Through in-depth interviews, the study uncovers the complex process of ethnic identity development among Nubians. The findings emphasize the profound influence of memory and imaginaries of homelands on Nubians' ethnic identity, contributing to a deeper understanding of contemporary Nubian community. Furthermore, the research sheds light on the interplay between displacement, diaspora, and memory, offering valuable insights for studies of ethnic minorities in the Middle East and North Africa. By exploring the intersections of diaspora, memory, and ethnic identity, this study illuminates the resilience and cultural continuity of the Nubian community despite geographical dispersal.

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Les études relatives à l'histoire de la première moitié du VIIe siècle av. J.-C. en Égypte sont encore relativement peu nombreuses. De ce fait, si les grandes lignes historiques sont chronologiquement assez bien établies, les étapes et les différents enjeux le sont quant à eux beaucoup moins.Cette période est marquée en Égypte par un important changement : les pharaons kouchites (de la XXVe dynastie, appelés aussi 'pharaons noirs' ou 'éthiopiens'), qui dominaient alors le pays depuis la fin du VIIIe siècle av. J-C., sont évincés par une nouvelle lignée de souverains d'origine libyenne (la XXVIe dynastie dite saïte), aidée par les invasions répétées de l'Égypte par l'Assyrie. Cette période de transition, d'environ une vingtaine d'années (entre les règnes de Taharqa, 690-664 av. J.-C., et de Psammétique Ier, 664-610 av. J.-C.), constitue ce sujet de recherche doctorale. L'objectif principal est donc d'éclairer de façon plus précise cette époque de transition en identifiant les acteurs principaux (souverains, clergé et dignitaires locaux) mais également les changements politiques, sociaux et culturels qui ont eu lieu. Une nouvelle étude qui prenne en compte les identités de chacun des protagonistes et leurs rapports avec le pouvoir est nécessaire. Il conviendra donc de définir le pouvoir pharaonique (sa nature et son expression notamment), les continuités et les modifications qui se sont opérées avec ce changement dynastique.Pour que cette étude puisse être la plus complète possible, ce sujet nécessite donc un réexamen de la documentation déjà connue par des recherches antérieures mais également la mise en lumière de documents mal connus ou encore ignorés. / The first half of the VIIth century BC have been marked in Egypt by an important transition. The Kushite pharaohs (the Nubian 25th dynasty, also named “black Pharaohs”) who dominated the country since the end of the eighth century, were ousted by a northern dynasty of Libyan origin (the 26th or Saite dynasty), in the context of the Assyrian invasions. This period of transition, between the reigns of the Kushite Taharqa (690-664) and the Saite Psamtik I (664-610) is the subject of this doctoral research.During the last few decades, the historical studies about the 25th and 26th dynasties have clarified the main events that marked Egypt and Nubia during this transitional period. If the more important historical events are relatively well known, the stages of the historical changes and the evolution of the pharaonic expression have been less studied.The main objective of this work is to clarify them by identifying the main protagonists (kings, clergy and local dignitaries) but also the political, social and cultural changes. The reign of the king Taharqa, thanks to the important and numerous documents (historical records and monuments) from Egypt and Nubia, constitute an important part of this research. The study of the textual and monumental expressions of Taharqa’s power (especially in Thebes in Egypt, or Kawa and Gebel Barkal in Nubia) and its evolutions in the context of the Assyrian wars, highlight the issues of this historical period. These informations can be completed by the documentation of the Kushite king Tanutamun and the saite Psamtik I.

Mon sujet de thèse vise à étudier tous les aspects de la production textile au Soudan à l’époque méroïtique (300 avant J.-C. – 400 après J.-C.). En tant que production artisanale, les tissus sont les fruits de très nombreuses étapes de fabrication, depuis la culture de la fibre à sa transformation en fils, et jusqu’au tissage. Les textiles sont également un des piliers de la culture matérielle des sociétés antiques. Ils y remplissaient des fonctions très variées, liées à l’habillement ou au mobilier, dans tous les contextes, aussi bien urbains, cultuels, que funéraires. D’autres questions devront être abordées, comme celle du commerce avec le monde romain, ou celle de la place de la production textile soudanaise dans les espaces plus larges de la vallée du Nil ou du monde méditerranéen. Ma thèse aura pour objectif de documenter tous ces thèmes, touchants différents domaines comme l’archéobotanie, les études textiles, les analyses iconographiques, l’archéologie et l’histoire.Mon travail consistera à rassembler et analyser les outils, les tissus et les reliefs montrant des costumes, chaque groupe documentaire éclairant un ou plusieurs aspects de la production textile. Il s’agira aussi d’observer les contextes archéologiques afin de déterminer les différentes modalités de production et d’utilisation des tissus. Une telle étude, se basant sur un riche corpus d’objets souvent inédits, permettra d’illustrer un domaine peu connu de la culture matérielle et économique du Soudan méroïtique. / . This research aims to study every aspects of textile production in ancient Sudan and Nubia during the Meroitic period (300 BC – AD 600). Textiles are the result of a multi-faceted craft which involves a long and complex chaîne opératoire, from growing and harvesting the fibres to spinning, weaving, dyeing and sewing. Fabrics and cloths also played a central role in the material culture of ancient societies. They fulfilled numerous and varied functions related to clothing or furnishing in many everyday-life contexts, such as the house, the town, or the temple, but also during the after-life, taking part in funerary rituals and protecting the deceased. This study moreover considers the economic aspects of textile production, notably trade with the Roman provinces and the integration of the Sudanese production into larger geographical regions along the Nile valley and the Mediterranean basin.My doctoral thesis explores these different themes following a multidisciplinary approach, using methods from the fields of archaeobotany, textile studies, iconographic analysis, archaeology and history. The work is based on the gathering of hundreds of previously unpublished data in 3 databases: textiles from old and new excavations, textile production implements, and images of costumes on various media. In correlation with the study of archaeological contexts and findspots, the analysis of each corpus illustrates, for the first time, the diversity of Meroitic textile production and usage. In doing so, this research participates in a recent effort in Sudanese archaeology to shed light on the little-known material culture and economic history of the Meroitic kingdom.

[EN] In the first half of the 20th century, Mexico, India and Egypt, embarked in a process of cultural self-affirmation that will live its mark in their national architecture. These three countries are placed in regions with an architectural heritage for thousands of years that, unfortunately, they have been disrespected during the Western occupation. Far from a change taking place, the blind faith in Western culture made them embrace the international style that hardly could be accepted by the lack of technical adequacy and scarcity of economic resources. Against this background, three figures emerged that are the purpose for this study: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. These architects present parallel lives; located obstinately against the century of the specialization and committed to acting as a guard of the local traditions. These architects will try to achieve answers to the questions of architectural identity suitable to their new nations. An identity which modernity is based on the local tradition and the technology adapted to the level of development of their countries and appropriable for their beneficiaries. The study tries to demonstrate the degree of affinity of their discourses, despite the apparent distance of their homelands. We will focus on the strategies to confront those common problems that they found in the course of their works. These strategies will form a common catalogue of architecturally applicable solutions in developing countries who try to reach the benefits of globalization without giving up their cultural roots. / [ES] En la primera mitad del siglo XX, México, India y Egipto, se embarcaron en un proceso de autoafirmación cultural que tendrá su eco en la arquitectura nacional. Se trata de tres estados asentados en regiones con una herencia arquitectónica de miles de años que, lamentablemente, había sido denostada en una lucha de poder durante la ocupación occidental. Lejos de producirse un cambio, la fe ciega en occidente les hizo abrazar un estilo internacional que a duras penas podía ser aceptado por la falta de adecuación técnica y carestía de recursos económicos. Ante este panorama, surgieron las tres figuras que son objeto de estudio: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. Estos arquitectos presentan vidas paralelas; ubicadas tercamente a contracorriente en el siglo de la especialización y empeñadas en actuar como centinelas de las tradiciones locales. Los tres arquitectos tratarán de lograr respuestas a las cuestiones de identidad arquitectónica dentro de sus naciones embrionarias. Una identidad cuya modernidad se base en la tradición local y la tecnología apropiada al nivel de desarrollo de sus países natales y apropiable por sus beneficiarios. El estudio pretende demostrar el grado de afinidad de sus discursos, pese a la lejanía aparente de sus países de origen. Se incidirá sobre sus estrategias para afrontar aquellos problemas comunes que se encontraron en el ejercicio de su profesión. Estas estrategias configurarán un catálogo común de soluciones arquitectónicas aplicables en países en vías de desarrollo que pretendan alcanzar los beneficios de la globalización sin renunciar a sus orígenes. / [CAT] En la primera meitat del segle XX, Mèxic, Índia i Egipte, es van embarcar en un procés d'autoafirmació cultural que tindrà el seu ressò en l'arquitectura nacional. Es tracta de tres estats assentats en regions amb una herència arquitectònica de milers d'anys que, lamentablement, havia estat injuriada en una lluita de poder durant l'ocupació occidental. Lluny de produir-se un canvi, la fe cega en occident els va fer abraçar un estil internacional que amb prou feines podia ser acceptat per la falta d'adequació tècnica i carestia de recursos econòmics. Davant aquest panorama, van sorgir les tres figures que són objecte d'estudi: Hassan Fathy, Juan O'Gorman i Balkrishna V. Doshi. Aquests arquitectes presenten vides paral·leles; situades tossudament a contracorrent al segle de l'especialització i obstinades a actuar com a sentinelles de les tradicions locals. Els tres arquitectes tractaran d'aconseguir respostes a les qüestions d'identitat arquitectònica dins de les seves nacions embrionàries. Una identitat moderna basada en la tradició local i la tecnologia apropiada al nivell de desenvolupament dels seus països natals i apropiable pels seus beneficiaris. L'estudi pretén demostrar el grau d'afinitat dels seus discursos, malgrat la llunyania aparent dels seus països d'origen. S'incidirà sobre les seves estratègies per afrontar aquells problemes comuns que es van trobar en l'exercici de la seva professió. Aquestes estratègies configuraran un catàleg comú de solucions arquitectòniques aplicables en països en vies de desenvolupament que pretenguin aconseguir els beneficis de la globalització sense renunciar als seus orígens. / Artola Dols, S. (2015). VIDAS PARALELAS: HASSAN FATHY, JUAN O'GORMAN Y BALKRISHNA DOSHI. Paralelismos y divergencias a través de sus obras y teorías sobre arquitectura en el contexto postcolonial [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59435 / TESIS

1 Odler, Martin 2020: The social context of copper in Ancient Egypt down to the end of Middle Kingdom. PhD thesis. Prague: Charles University, Faculty of Arts. Supervisor: Prof. Mgr. Miroslav Bárta, Dr. Abstract The subject of the doctoral thesis is a reconstruction of the chaîne opératoire of copper in ancient Egypt from its earliest occurrence in the fourth millennium BC until the end of the Middle Kingdom. As copper was the metal most widely used in ancient Egyptian society, its study can offer statistical "big data" otherwise rarely available for ancient cultures. Three large groups of sources are discussed successively: written and iconographic sources, archaeological sources (material culture, i.e. artefacts), and archaeometallurgical sources, divided into several consecutive stages of the chaîne opératoire. Copper was named bjA and read [byr] in the periods under study, while an interpretation as arsenical copper with a low and high content of arsenic, respectively, is proposed for so- called Asian copper and Hsmn. In the Middle Kingdom, the term Hsmn begun to be used also for tin bronze. The word for crucible was bD(.t) and the word for metalworker (incorporating both metallurgists and smiths) was bD.ty. There is no substantial Egyptian evidence from the periods under study for the current...