Diss. phil.-hist. Bern (kein Austausch). / Literaturverz.

No description available.

Thesis (M.Sc.)--University of Hong Kong, 2007. / Includes bibliographical references (p. 64).

Thesis (M. Arch.)--University of Hong Kong, 1994. / Includes bibliographical references.

The topic of the dissertation is a study on the Ramesseum Dramatic Papyrus, a document that was discovered together with other papyri and funerary objects in a late Middle Kingdom tomb in Ramses II’s funerary temple on the West bank of Luxor. The thesis will cover an analysis of the complete find, providing information on the provenance of the collection, the circumstances of its discovery, the dating of the papyri, and the identity of the tomb owner. The focus of the dissertation, however, is the Ramesseum Dramatic Papyrus itself, which features the guideline for the performance of a ritual. The preservation and fabrication of the manuscript is described as well as the layout of the text. Based on a copy of the original text done with the help of a tablet PC, an up-dated transliteration and translation of the text is provided, accompanied by a commentary. The text has been studied by several scholars, but a convincing interpretation of the manuscript is lacking. Thus, the dissertation will analyse the previous works on the papyrus, and will compare the text of the manuscript with other attested rituals from ancient Egypt. By highlighting the differences and similarities the text has with these other ceremonies, the exact nature of the rites described in the Ramesseum Dramatic Papyrus can be identified. Finally, a new interpretation of the text is offered, suggesting that the ceremony concerns a statue ritual performed in commemoration of Senwosret I’s accomplishments at Karnak.

The topic of the dissertation is a study on the Ramesseum Dramatic Papyrus, a document that was discovered together with other papyri and funerary objects in a late Middle Kingdom tomb in Ramses II’s funerary temple on the West bank of Luxor. The thesis will cover an analysis of the complete find, providing information on the provenance of the collection, the circumstances of its discovery, the dating of the papyri, and the identity of the tomb owner. The focus of the dissertation, however, is the Ramesseum Dramatic Papyrus itself, which features the guideline for the performance of a ritual. The preservation and fabrication of the manuscript is described as well as the layout of the text. Based on a copy of the original text done with the help of a tablet PC, an up-dated transliteration and translation of the text is provided, accompanied by a commentary. The text has been studied by several scholars, but a convincing interpretation of the manuscript is lacking. Thus, the dissertation will analyse the previous works on the papyrus, and will compare the text of the manuscript with other attested rituals from ancient Egypt. By highlighting the differences and similarities the text has with these other ceremonies, the exact nature of the rites described in the Ramesseum Dramatic Papyrus can be identified. Finally, a new interpretation of the text is offered, suggesting that the ceremony concerns a statue ritual performed in commemoration of Senwosret I’s accomplishments at Karnak.

Thesis (M.Arch.)--University of Hong Kong, 1994. / Includes bibliographical references. Also available in print.

Cette étude traite des changements dans la façon de percevoir la statue, de la statuette au colosse, et des bouleversements dans les fonctions que les anciens leur attribuaient aux IVe et Ve siècles ap. J.-C., une période de mutation religieuse, sociale et politique. La réflexion s'appuie sur les sources archéologiques, littéraires, périodiques et épigraphiques afin de proposer une lecture croisée, mêlant des domaines que les traditions académiques divisent entre histoire et histoire de l'art. Leur analyse permet d'étudier l'approche nouvelle des statues, puis les fonctions de telles images dans la société de la fin de l'Antiquité, et enfin le traitement plastique singulier des images en ronde-bosse à cette époque. Ces images qui ont hanté l'univers des Anciens ont été modelées au contact de la société pour en devenir l'expression. Cette étude des statues permet donc une approche plus large qui touche à la fois les mentalités mais aussi les cadres politiques et religieux d'une société romaine tardive en mutation. / The current study concerned the ancients' changing perception of the statue and its associated qualities during the enormous religious, political, and social upheavals of the 4th and 5th century A.D., focusing on the most clearly documented Western part of the Empire, particularly Africa, Italy and Gaul. The study draws on archeological, literary, legal and epigraphic sources more traditionally treated separately as belonging to either history or history of art. This multi disciplinary analysis casts new light on our understanding of statues, and the function of such images at the end of Antiquity as well as the unique plastic use of such images in sculpture in the round of the period. The images, which haunted the universe of the Ancients, were a product of its civilization in order to become the expression of it. This study thus takes an approach which includes social attitudes within the political and religious framework of a late Roman civilization in transition

No / ‘Project code-named Humpty’ is a performative art piece involving the creation, fragmentation, and reconstruction of a 2.7 m high classically inspired sculpture. It was conceived to complement an archaeological science research project setting out to explore the use of digital scanning technologies in artefact reconstruction. The statue’s form was free sculpted in clay over a period of four years. It was cast in a self-supporting cementitious material specifically for the purpose of ceremonial fragmentation and subsequent reconstruction by archaeologists. In this chapter, we explore the project’s human/machine intentions, interactions, development processes and their wider implications leading to fragmentation. We explore how 3D terrestrial laser scanning with photogrammetry was used to chart the creation of the sculptural form and how scans informed finite element analysis, essential for safe casting and fragmentation. We show how structured light scanning was essential to create a digital backup of the mould and how drone imagery documented fragmentation tests and 360° imaging recorded studio and quarry activity. / We are very grateful to AHRC, the Arts and Humani[es Research Council who in 2017 awarded follow-on funding to support ‘Project code-named Humpty’ (AH/R004846/1), linked to the AHRC Digital Transformations Theme Large Grant ‘Fragmented Heritage’ (AH/L00688X/1). Highlight Digital Transformations, linked to the ‘Fragmented Heritage’ Project, funded under the Arts and Humanities Research Council’s Digital Transformations Theme Large Grant.

Les statues comptent parmi les plus remarquables témoignages matériels de l’Antiquité qu’il nous est donné de contempler. Si chacun d’entre nous voit ce qu’elles sont, leur réelle signification nous échappe cependant dans l’ensemble. Délaissant la démarche du catalogage et de la classification typologique, ce travail se propose de les replonger dans une atmosphère sociale parfaitement révisée, reconstituée et interrogée. À quoi cela servait-il d’ériger une statue dans la Rome antique ? À quoi cela sert-il de les étudier présentement ? À cela nous répondons que derrière ces vestiges, c’est la motivation de retrouver une conception du monde différente de la nôtre, mais capable de l’éclairer sous un jour nouveau qui fut pour nous déterminante. Derrière les statues, c’est retrouver l’Homme qu’il soit d’hier ou d’aujourd’hui. C’est surtout dépasser l’inertie apparente pour repenser une vie communautaire dans laquelle l’honneur prévalait et dont la réception s’avère encore à notre temps des plus vivaces. / Statues are the most noticeable tangible testimonies from Antiquity that we are given to contemplate. If each of us can see what they are, yet we can not get their true meaning in their whole. Abandoning the approach of cataloguing and typological classification, this work intends to throw us back to the statues’ social atmosphere that is perfectly revised, reconstituted and questioned. What is the use of erecting a statue in Ancient Rome? What is the use of studying them so far? To answer this question, we can say that beyond these ruins, it is the drive to find again a conception of a world that is different from ours, but a world that is capable of shedding a new light into the meaning of the Statues, which is essential for us. Behind the statues, it is to find again the Man, either the old type or the new type. It is above all to transcend the seeming inertia to think again a community life, in which the honour prevailed and whom reception turns out to be the most vivid in our modern world.