Thesis (doctoral)--Universität, Santiago de Compostela, 1997. / Includes bibliographical references (p. [239]-259) and index.

Representational artistic works were researched as visual evidence for the social, political, religious and economic lifestyles of the ancient Egyptian elite. The aims were to comprehend the status of elite women and to challenge the hypothesis that during the New Kingdom they enjoyed an increased social status in comparison to that of their predecessors. Many artistic works were analysed (tomb and palace wall scenes, statues, obelisks and personal artefacts), on the quest for evidence for the roles of elite women in events, practices and rituals at the time when the objects were created. Various international museums were visited and personal observations are correlated with expert publications. The study concludes that the status of elite women in the New Kingdom was both significantly different and exalted in comparison with the status of their counterparts during earlier dynasties. / OLD TESTAMENT & ANCIENT NE / MA (ANC NEAR EAST STUDIES)

Le scribe royal de la Tombe Boutéhamon est un personnage thébain de première importance dont les témoignages couvrent les dernières années de la XXe dynastie et les premières de la Troisième Période intermédiaire (de Ramsès XI à Smendès Ier). Fils du scribe de la Tombe Djéhoutymès, Boutéhamon est mentionné dans de nombreuses sources épigraphiques (lettres, graffiti et dipinti de la nécropole thébaine, ostraca, phylactère, étiquette de momie) et archéologiques (vestiges architecturaux à Médinet Habou, sarcophages dispersés, mention possible de son inhumation à Deir el-Medineh). L’examen de cette documentation permet, d’une part, de restituer la carrière de ce haut fonctionnaire dans son temps. D’autre part, elle sert à exprimer de nouveau la chronologie incertaine des règnes des pharaons concernés ainsi que la période dite de « la Renaissance ». / The royal scribe of the Tomb Butehamun is an outstanding Theban character, evidence for whom spans the last years of the 20th dynasty and the first years of the Third Intermediate Period (from Rameses XI to Smendes I). Butehamun was the son of the scribe of the Tomb Djehutymes. He is mentioned in numerous epigraphic (letters, graffiti and dipinti from the Theban necropolis, ostraca, phylactery, mummy label) and archaeological sources (architectural remains at Medinet Habu, dispersed coffins, a possible reference to his burial at Deir el-Medineh). Close examination of this body of documents allows reconstructing the career of this high ranking civil servant within his own time. Furthermore, it serves the reassessment of the uncertain chronology of the relevant pharaohs’ reigns and of the period known as “the Renaissance”.

Representational artistic works were researched as visual evidence for the social, political, religious and economic lifestyles of the ancient Egyptian elite. The aims were to comprehend the status of elite women and to challenge the hypothesis that during the New Kingdom they enjoyed an increased social status in comparison to that of their predecessors. Many artistic works were analysed (tomb and palace wall scenes, statues, obelisks and personal artefacts), on the quest for evidence for the roles of elite women in events, practices and rituals at the time when the objects were created. Various international museums were visited and personal observations are correlated with expert publications. The study concludes that the status of elite women in the New Kingdom was both significantly different and exalted in comparison with the status of their counterparts during earlier dynasties. / OLD TESTAMENT and ANCIENT NE / MA (ANC NEAR EAST STUDIES)

The costume design for the University of Central Florida Conservatory Theatre‘s production of Seamus Heaney‘s The Burial at Thebes: A Version of Sophocles’ Antigone took an ancient Greek classic by Sophocles and infused it with influences from avant-garde theatre. This thesis documents the process of designing the costumes from academic, artistic, and technical aspects. Through this process, I explored how to communicate abstract ideas about humanity into actual costumes and how multiple cultural heritages can be intertwined in a united visual which pushes the audience to think more critically about the story. The recurring themes of duality are central to the final costume design: silk chiffon chitons draped over seemingly nude tattooed bodies, representing the ever-present competing allegiances to the will of the gods or to the law of man. Working backwards through the process, this thesis discusses the avant-garde aims of the production and how they were achieved in design. The historical and cultural research, and how it directly influenced the costume design, is discussed for both Seamus Heaney and The Burial at Thebes, as well as for Sophocles and Antigone. Moving through a thorough script analysis and text-to-text comparison of Antigone and The Burial at Thebes illuminates the character and situation traits that are expressed in the design. Script-to-script comparisons reveal the heightened political language Heaney has created to make a story readily accessible to modern audiences. This gives Creon more humanity, thus magnifying the conflict, which is analyzed using conflict theory

L’étude des productions céramiques thébaines des 25e et 26e dynasties (c. 750-525 avant notre ère) a longtemps été négligée en raison d’un manque incontestable de contextes archéologiques stratifiés. Cette thèse a pour objectif l’étude de cette industrie par un examen rigoureux du matériel céramique de la chapelle d’Osiris Ounnefer Neb-Djefaou à Karnak (IFAO – sous la direction de L. Coulon) et du secteur du temple de Ptah à Karnak (CFEETK – sous la direction de Chr. Thiers). A cela s’ajoutent les données extraites des fouilles récentes des tombes TT 29 et TT C3 à Cheikh Abd el-Gourna (ULB / MANT – sous la direction de L. Bavay et D. Laboury). <p><p>En plus d’une définition précise de cette industrie par de l’établissement d’une analyse typologique fine, ce travail vise à associer les changements politiques de la ville de Thèbes avec les développements des productions céramiques locales. <p>Vers le milieu du 8e siècle avant notre ère, des évolutions techniques et morphologiques majeures se produisent dans l’industrie céramique thébaine, donnant naissance à un nouveau répertoire spécifique de cette région, se distinguant clairement des productions de la Basse-Egypte. Cette différenciation semble être le reflet des tensions politiques entre le nord et le sud du pays. Cette industrie va se développer au cours de la Basse Epoque avec des formes devenant plus sinueuses, complexes et carénées. Un nouveau traitement de surface se développe grâce au tour rapide :les stries plates, éléments caractéristiques des productions thébaines de la Basse Epoque. <p>Sous la dynastie nubienne, les produits vraisemblablement originaires de la région thébaine sont diffusés en Egypte et en Nubie. Cette diffusion a pour conséquence quelques phénomènes d’interactions en Egypte, mais surtout en Nubie où se développe un nouveau répertoire formel inspiré des productions céramiques thébaines, en parallèle aux productions locales.<p><p>Ce travail s’articule en trois parties. La première reprend une présentation des différents sites et contextes archéologiques exploités dans cette analyse. La deuxième correspond à une étude typologique des productions céramiques thébaines alors que la troisième partie se penche sur une synthèse reprenant une définition complète de la production thébaine. <p>Cette thèse a pour objectif d’utiliser l’objet céramique comme un élément datant et le témoin d’un savoir-faire, mais également comme un marqueur de changements politiques et économiques./<p><p><p>The study of the Theban ceramic production from the 25th to the 26th Dynasty (c. 750-525 BC) has been neglected for a long time because of a lack of stratified archaeological context. The aim of the thesis is to analyse the ceramic material coming from the chapel of Osiris Wennefer Ned-Djefau at Karnak (IFAO – Dir. L. Coulon) and from the temple of Ptah at Karnak (CFEETK – Dir. Chr. Thiers). The study of the pottery from the tombs TT 29 and TT C3 at Cheikh abd el-Gourna broadens our knowlegde on this production (ULB-ULg – MANT – Dir. L. Bavay et D. Laboury). <p><p>In addition to the formulation of a precise definition of this industry by the establishment of a new ceramic typology, this work aims to associate the political changes occurring in Thebes at that period with the evolution of the local ceramic production. <p>In the mid-8th century BC, technical and morphological changes are observed in the Theban ceramic industry, defining a specific industry in the region, a pottery repertoire which is easily distinctive from the ceramic production from the North of Egypt. This distinction is the reflection of political tensions between the North and the South at this time. The above-mentioned industry developed during the Late Period with more complex, marked and carinated shapes; a new surface treatment appeared thanks to the use of the kick-wheel: ribbed surface, which is a specific element of the Theban production in the Late Period. <p>Under the Nubian Dynasty, pottery from the Theban area is spread through Egypt and Nubia. This distribution caused some interaction phenomenas in Egypt, but also in Nubia where a new ceramic repertoire developed alongside the local ceramic industry. <p><p>This work has been divided in 3 parts. The first part corresponds to a presentation of archaeological sites and contexts used for the study. The second part presents a typological analysis of the Theban production. The last part is a synthetic analysis of the Theban pottery production. <p>The thesis tends to prove that the ceramic object is certainly a dating data and the testimony of a savoir-faire, but also the testimony of political and economical changes.<p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Butehamun was one of the most famous scribes involved in the building of the royal tombs of the Valley of the Kings, and a member of the most illustrious family of scribes there. Butehamun presided over the closure of the Valley and the workers’ village of Deir elMedina, and the move from building new tombs to the preserving and moving (some would say plundering) of the mummies left behind, marking the transition from the New Kingdom to the Third Intermediate Period, as Egypt splintered into what were essentially two realms. By studying the primary sources associated with Butehamun, including letters, reburial ‘dockets’, graffiti, the apparently unique decorations on Butehamun’s coffin, and the finds at his excavated house in Medinet Habu, this paper investigates what can be learned about Butehamun and the reburial project. Some of the sources seem to indicate he experienced some kind of religious crisis, which may have been brought on by feelings of guilt over his treatment of the royal mummies, two of whom were worshipped as gods in Deir el-Medina. / Butehamon var en av de mest kända av de skrivare som deltog i byggandet av de kungliga gravarna i Konungarnas dal. Han tillhörde en av de mest framstående skrivaresläkterna där. Butehamon övervakade stängningen av dalen och arbetarnas by Deir el-Medinah. Det var han som ansvarade för arbetet när man övergick från att bygga nya gravar till att flytta (vissa skulle säga plundra) de mumier som lämnades kvar till nya förvaringsplatser. Detta skede markerar övergången från det Nya Riket till den Tredje Mellanperioden, då Egypten sönderföll i två separata stater. Genom att studera de primära källor som rör Butehamon, bland annat brev, etiketter på mumier, graffiti, bilder och de högst ovanliga dekorationerna på Butehamons kista samt fynd från utgrävningarna av hans hus i Medinet Habu, undersöker denna uppsats vad man kan lära sig om Butehamon och projektet att flytta mumierna. Några av dessa källor tycks tyda på att han upplevde någon form av religiös kris, som kan ha utlösts av på skuldkänslor över hur han lät behandla de kungliga mumierna. Två av dessa kungligheter dyrkades som gudar i Deir el-Medinah och bilder på dem och delar av deras familj återfinns på Butehamons egen kista.

Diogène de Sinope, principal représentant du cynisme ancien, affirme dans une de ses œuvres qu’« il mettait la liberté au-dessus de tout ». Il n’est pas question ici du sens politique de la liberté, mais plutôt de son acception morale et individuelle, dont les origines remontent au moins au VIe s. av. J.-C. et peut-être à la racine même du mot ἐλεύθερος. Retracer l’histoire de cette notion révèle diverses influences sur le cynisme, que ce soit la figure de l’« esclave libre » chez les tragiques, ou la correspondance entre nature et liberté chez les Sophistes et Démocrite. Pour atteindre l’autarcie et l’apathie, les deux caractéristiques de la liberté cynique, Diogène doit soumettre son corps à un entraînement de nature physique, seul moyen de s’émanciper des chaînes de la civilisation. Socrate, surtout chez Xénophon et dans une certaine mesure chez Platon, avait déjà fait des exercices corporels une condition d’acquisition de la liberté. Toutefois, l’émancipation de l’individu débouche avec Socrate sur l’apprentissage du savoir qu’il juge nécessaire à la vertu. Les Cyniques, quant à eux, rejettent la vertu-connaissance et limitent leur activité philosophique à la pratique d’une ascèse corporelle rigoureuse, de sorte que la liberté mène sans détour à la vertu et au bonheur au point de s’y identifier. Les Cyniques se différencient donc de leurs prédécesseurs socratiques en ne prolongeant pas leur quête philosophique au-delà du moment de la libération et, par le fait même, font de la liberté la véritable marque distinctive de leur philosophie. / Diogenes of Sinope, the main representative of ancient Cynicism, says in one of his works that « he preferred freedom above everything ». He does not mean here freedom in its political sense, but rather in its moral and individual meaning, which dates back at least to the sixth century BC and perhaps to the very root of the word ἐλεύθερος. Tracing the history of this notion reveals diverse influences on Cynicism, whether the figure of the « free slave » of the tragedians, or the correspondence between nature and freedom of the Sophists and Democritus. To reach self-sufficiency and apathy, the two characteristics of Cynic freedom, Diogenes must submit his body to physical training, it being the only way to break free from the chains of civilization. Socrates, especially in Xenophon and to a certain extent in Plato, had already made physical exercises a condition for acquiring freedom. However, with Socrates the emancipation of the individual ends in gaining knowledge that he deems necessary to virtue. Cynics, for their part, reject virtue-knowledge and limit their philosophical activity to the practice of a rigorous physical asceticism, so that freedom leads directly to virtue and happiness to the point of identifying with it. Therefore, Cynics differ from their Socratic predecessors by not extending their philosophical quest beyond the moment of liberation and thereby make freedom the true hallmark of their philosophy.

Both Chaucer and the Gawain-poet use the Matters of Troy and Thebes as material for a critique of courtly life, applying these literary matters to the events and actions in and around Ricardian England. They use these classical matters to express concerns about the effectiveness of the court of Richard II. Chaucer uses his earlier works as a testing ground to develop his views about the value of duty over courtly pursuits, ideas discussed more completely in Troilus and Criseyde. The Gawain-poet uses the Matter of Troy coupled with the court of King Arthur to engage in a critique of courtly concerns. The critiques presented by both poets show a tendency toward duty over courtly concerns.

The thesis focuses on the four important Theban families of the 21st and 22nd Dynasties (the families of Nesipakashuty, Nebneceru, Djedthutefankh B and Neseramun). The text also pays attention to ways in which the political situation and cultural tendencies of the Libyan Period were reflected in the titulatury and biographical inscriptions of family members. The thesis opens with a general discussion of the Libyan influence on Egypt and a summary of the history of Thebes during the 20th-22nd Dynasties. The overview of the four families based on the lists of their members' titles and their biographical inscriptions follows. In the closing part an interpretation of influences of the changing political and cultural situation on the particular families is proposed: the political events themselves are reflected in the extant sources concerning the families only exceptionally, while the traces of political and cultural tendencies of the period are clearly present in these sources.