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The Global ETD Search service is a free service for researchers
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Showing 31 to 40 of 42 (0.061 seconds)Spelling suggestions: "subject:"osiris"" "subject:"esiris""
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A critical analysis of selected Egyptian bronze artefacts in the National Cultural History Museum (NCHM)Gravett, Venus Felicia 02 1900 (has links)
This dissertation will critically analyse a gilded bronze Osiris statuette from the Middle Kingdom Period. An attempt is made to verify its authenticity, provenance and probable date of origin, while also gathering information which will help in placing the artefact and others like it in their proper cultural context. Furthermore the value of several investigative techniques employed during the course of this research is also explored. / Old Testament and Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)
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Religião e sociedade no Egito antigo: do mito de Ísis e Osíris na obra de Plutarco (I d.C.)Santos, Poliane Vasconi dos [UNESP] 26 September 2003 (has links) (PDF)
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santos_pv_me_assis.pdf: 683228 bytes, checksum: a1b11b554219e8c3ebbb9a4f2c9ad14e (MD5) / Osíris foi um dos deuses mais importantes dentro do panteão da civilização egípcia. Encontramos alusões ao seu mito desde o começo da era dinástica até o período greco-romano, onde temos a síntese realizada por Plutarco (45-120 d.C.) no seu tratado sobre Ísis e Osíris. Através da análise desse mito, tal como narrado por Plutarco, pode-se perceber que sua influência foi muito profunda e marcante na história do Egito abrangendo questões referentes aos aspectos principais dessa sociedade. Seu mito respondia questões e anseios pertinentes a todos os egípcios sendo dessa forma adorado em todo o país. Possuía características e funções como deus relacionado aos ciclos da natureza, como a Lua, o Nilo e o grão, como mantenedor da ordem e da sucessão real e fundamentalmente como aquele que transcendeu a morte e foi reinar no Ultra-Tumba, tornando-se rei e juiz desse mundo. Portanto, nosso objetivo será mostrar que o mito de Osíris estava relacionado com todos os aspectos da vida egípcia, da paz à guerra, da seca à enchente, da peste à abundância, da posição divina do faraó à dureza da servidão e fundamentalmente, da vida à morte. Conseguindo, assim, abarcar em sua personalidade divina todos os atributos necessários para solucionar e satisfazer as necessidades de todos os estratos sociais, do rei ao servo. / Osiris was one of the most important divinities inside the panteon of Egyptian civilization. We find hints of this myth since the beginning of the Dynastyc era until the Greco-Roman period, in which we have the syntesis made by Plutarch (45-120 A.D.) in his work about Isis and Osiris. Analyzing the myth of Osiris, as it is narrated by Plutarch, we can realize that its influence was very deep and very important in the history of Egypt, reaching questions concerning the main features of this society. The myth of Osiris answered questions and wishes which were pertinent to all egyptians, so that it was adored in entire country. It possessed characteristics and functions as god related to the cycles of nature, like the Moon, the Nile River and the seed; as keeper of order and of regal succession and, fundamentally, as the one which transcended the death and went to reign in Over-Grave, becoming king and judge of that world. Thus, our purpose will be to show that the myth of Osiris was related to all features of Egyptian life, from peace to war, from dryness to inundation, from plague to plenty, from the divine position of the king to the hardness of servitude, and fundamentally, from life to death. So, the myth of Osiris got to embrace, in its divine personality, all the necessary attributes to resolve and to satisfy the needs of all social classes, from the king to the serf.
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Speaking Out of the Dust: Religious Reenactments with the Specific Iconic Identity of PlaceLewis, Heidi Diane 19 July 2006 (has links) (PDF)
Sometimes, the place where a play is performed is as important as or more important than the play itself. The first known theatrical rituals were performed in spaces which came to hold deep religious significance. Many religious traditions regard certain places as sacred because of spiritually significant events which took place there, sometimes involving the presence of Deity. In an effort to build on that sacrality, sometimes religious cultures bring theatre to these spaces, which, in turn, tend to alter the nature of the theatrical event. This seems especially true in regards to theatre which presents a re-enactment of the events which originally sacralized the performance space. Creating a theatrical performance at the same space, and recreating the same event which made the space sacred in the first place, gives the theatrical event a reflexive quality which performances in a space designated for theatre do not have. The Passion of Osiris in Ancient Egypt and the celebrations and commemorations of the early Christian Church are two examples of theatrical reenactments of sacred events in sacred spaces. Although such performances have been uncommon since those of the early Christians, the Church of Jesus Christ of Latter-day Saints offers two comparable performances today (the Hill Cumorah Pageant and the Nauvoo Pageant); they are also reenactments of sacred events framed by the sacred spaces where they originally occurred. The main commonality of my focus is the sacred physical space which frames each of the performances as a sort of ethereal proscenium arch or a silent witness of sacred events.
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The Cult of Antinous and the Response of the Greek East to Hadrian's Creation of a GodFox, Tatiana Eileen 09 July 2014 (has links)
No description available.
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Dialogschnittstellen an Online-Informationssystemen: Notwendigkeit, Leistungsfähigkeit und Entwicklungsmöglichkeiten am Beispiel des OSIRIS-Systems / The OSIRIS-System as an Example for Necessity, Abilities and Perspectives of Human-Machine Dialogue Interfaces to Online Information SystemsRonthaler, Marc 05 June 2001 (has links)
Zentrales Thema der Arbeit sind die im Rahmen des Projektes OSIRIS vorgenommenen Verbesserungen für den Online-Zugang zu Bibliothekskatalogen. Diese Verbesserungen werden in den Kontext der steigenden Bedeutung von Online Information gestellt, indem Schnittstellen zu Online-Bibliothekskatalogen als ein repräsentativer Sonderfall für Online-Dialogschnittstellen beschrieben werden. Nach einer Darstellung der wesentlichen Merkmale von OSIRIS (auch kontrastiv zu anderen Bemühungen im Kontext wissenschaftlicher Bibliotheken, die Recherche im Online-Katalog zu verbessern) werden die Möglichkeiten eines weiteren Systemausbaus beschrieben. Neben den für OSIRIS spezifischen Verbesserungsmöglichkeiten geht es dabei auch um die allgemein an der Schnittstelle zu erwartenden linguistischen Phänomene. Im Anschluss werden die bereits für OSIRIS durchgeführten Evaluationsmassnahmen beschrieben und anhand der Literatur versucht, allgemeine Kriterien für die Wirkung natürlichsprachlicher Schnittstellen auf die Nutzer zu identifizieren. Es werden die möglicherweise limitierenden Faktoren eines weiteren Ausbaus einer natürlichsprachlichen Dialogschnittstelle wie OSIRIS beschrieben, wobei neben den technischen Aspekten insbesondere die Wirkung von Dialogschnittstellen auf deren Benutzer erörtert wird.
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Hur speglar konsten religionen i Egypten under Det mellersta riket?Schultz, Johanna January 2001 (has links)
<p>Huvudfrågan i den här uppsatsen är på vilket sätt som konsten speglar religionen i Egypten under Det mellersta riket. Uppsatsen börjar med att beskriva när Det mellersta riket skulle ha ägt rum, vilket dock är lite osäkert, då årtalen kan variera något mellan olika författare. Vidare, vill jag ge en inblick i hur den egyptiska konsten bör tolkas, då detta inte är på samma sätt som vi västerlänningar, idag, ofta tolkar konst utifrån dess yttre skönhet och helhet. Sedan följer en beskrivning av hur religionen förmodligen uppstod kring Nilen och inspirerade det religiösa livet, då denna flod var livsviktig och källan till att livet över huvud taget gick att leva i Egypten. Detta stycke inrymmer också skapelsemyten, gudar och ritualer. I stycket, som jag kallar ”Kungen”, beskrivs vilken ställning kungen hade ur ett religiöst perspektiv, då mycket av konsten man har funnit har varit avbildningar av kungar. Hur konsten beskriver det ovannämnda och symboliserar religionen påvisas i nästa stycke, som följs av hur religion och konst har förändrats från det Gamla riket till det Nya riket.</p> / Uppsatsförfattaren har senare bytt efternamn till "Lindgren".
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Hur speglar konsten religionen i Egypten under Det mellersta riket?Schultz, Johanna January 2001 (has links)
Huvudfrågan i den här uppsatsen är på vilket sätt som konsten speglar religionen i Egypten under Det mellersta riket. Uppsatsen börjar med att beskriva när Det mellersta riket skulle ha ägt rum, vilket dock är lite osäkert, då årtalen kan variera något mellan olika författare. Vidare, vill jag ge en inblick i hur den egyptiska konsten bör tolkas, då detta inte är på samma sätt som vi västerlänningar, idag, ofta tolkar konst utifrån dess yttre skönhet och helhet. Sedan följer en beskrivning av hur religionen förmodligen uppstod kring Nilen och inspirerade det religiösa livet, då denna flod var livsviktig och källan till att livet över huvud taget gick att leva i Egypten. Detta stycke inrymmer också skapelsemyten, gudar och ritualer. I stycket, som jag kallar ”Kungen”, beskrivs vilken ställning kungen hade ur ett religiöst perspektiv, då mycket av konsten man har funnit har varit avbildningar av kungar. Hur konsten beskriver det ovannämnda och symboliserar religionen påvisas i nästa stycke, som följs av hur religion och konst har förändrats från det Gamla riket till det Nya riket. / Uppsatsförfattaren har senare bytt efternamn till "Lindgren".
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Vláda panovníka Nyuserrea a její vliv na vývoj egyptského státu. Skokové období v době Staré říše / The Reign of King Nyuserre and Its Impact on the Development of the Egyptian State. A Multiplier Effect Period during the Old KingdomDulíková, Veronika January 2016 (has links)
The present thesis deals with the reign of Nyuserre, one of great Old Kingdom rulers who ruled in the mid-Fifth Dynasty (2402-2374+25 BC). A transformation of whole society of ancient Egypt came to pass during his reign as a consequence of the events in the late Fourth and early Fifth Dynasties, when the highest posts in the administrative system had passed over from members of the royal family to dignitaries of non-royal origin. This fact had been reflected in whole society and started numerous rivulets of change, which merged in a single river in Nyuserre's reign. The gradual transformation of Egyptian society from a kingdom to a state took place during this crucial period, and a number of innovations came about in various spheres (religion, society, administration, tomb architecture, etc.), mirroring a change in the participation in power. This situation was reflected primarily in dignitaries' tombs dated to the given period, which became indicators of the transformation of society. The research is focused on an analysis more than 100 tombs of high-ranking individuals and their family members, and particularly of their titulary, offering formulae, false doors (the central point of the funerary cult), etc. The individual chapters of the present thesis exemplify the most noticeable changes in...
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The Birth of Sacrifice: Ritualized Deities in Eastern Mediterranean MythologyHütwohl, Dannu January 2020 (has links)
No description available.
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Recherches sur le système de représentations symboliques de l’art néolithique aux textes des pyramides- Origines et formation des éléments de la religion solaire de l’Egypte antique / Research on the symbolic representations system in Egypt from Neolithic art to the pyramid texts.- Origin and formation of solar religion elements in pharaonic EgyptSweydan, Francois 28 February 2011 (has links)
Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïque. / Since the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature.
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