The essay analyses the changes of the Opet festival procession between the regents Hatshepsut and Tutankhamun, as some changes of the procession occur during this period. The purpose of this study is to fill in some of the knowledge gaps that exist and to combine different areas that have been researched with areas ​​where little research has been done. The purpose is to provide an insight into how the environment and politics played a role in the religious contexts of the Opet festival. The approach uses the reliefs of the Opet festival found in Luxor Temple and in Karnak Temple to see how the festival changed. By examining how the festival procession evolved and analysing what the changes were due to, one can answer the main question: Why did the processions in the Opet festival change? The focus will be to analyse Hatshepsut (1479–1457 B.C.), Amenhotep III (1388–1351 B.C.) and Tutankhamun's (1341–1323 B.C.) political and religious position, and to investigate whether it affected the development of the procession of the Opet Festival and if so, how it affected the change. Furthermore, by analysing the landscape through the study of the movement of the Nile and the annual cycle of the river and using the concepts of "constructed landscapes" and "ideational landscapes" as a starting point for analysing the temples and processional ways. This study also provides something for future projects to build on, as there are currently not many studies on the processions of the Opet Festival, more research is needed in this area. Since this is an approach that has not been done before, by looking at the political and historical aspects as well as the environmental aspects and how they affect the processions of the Opet festival, will this fill some of the knowledge gaps currently present. / Uppsatsen analyserar förändringarna i Opet festivalens processioner mellan regenterna Hatshepsut och Tutankhamun, då många förändringar i processionen skedde under denna period. Syftet med denna studie är att fylla några av de kunskapsluckor som finns genom att kombinera olika områden som det har forskats mycket om för att analysera ett område som det inte har forskats lika mycket om. Syftet är att ge en inblick i hur miljön och politiken spela en roll i de religiösa sammanhangen som fanns i forntida Egypten. Tillvägagångsättet kommer vara att använda relieferna av Opet festivalen som finna i Luxortemplet och i Karnaktemplet för att se hur festivalen förändrades. Genom att undersöka och redovisa hur processionen under festivalen utvecklades och analysera vad de förändringarna berodde på, kan studien besvara huvudfrågan: Varför förändrades processionerna i Opet festivalen? Fokuset kommer vara att analysera Hatshepsut (1479–1457 f.v.t.), Amenhotep III (1388–1351 f.v.t.) och Tutankhamuns (1341–1323 f.v.t.) politiska och religiösa ståndpunkt, samt undersöka om det påverkade utvecklingen av Opet festivalens procession och i så fall hur det påverka förändringen. Samt analysera landskapet genom att studera Nilens rörelse och översvämning och även använda begreppen konstruerat -och idémässigt landskap som startpunkt för att analysera templen och processionsvägarna. Denna studie kan också ge något för framtida projekt att bygga på, då det i nuläget inte finns många undersökningar om Opet festivalens processioner, behövs det mer forskning inom detta område. Då det här är en infallsvinkel som inte gjorts tidigare, genom att kolla på de politiska och historiska aspekterna samt miljöaspekterna och hur de påverka processionerna av Opet festivalen, kommer detta fylla några av de kunskapsluckor som finns i nuläget.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008. / A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.

With each generation arrives at a new understanding and specifically creates a new representation of the ancient pharaoh Tutankhamun. My study analyzes the role of Tutankhamun in American media and popular culture, especially the changing depictions of the Pharaoh over time. My thesis discusses the historical Tutankhamμn and the how this differs from the "Golden Boy" Tut popularized in modem times since the discovering of the tomb by Howard Carter. His discovery launched an Egyptomania craze periodically resurged over the course of the century~ particularly in the years immediately following the find, 1978t and in 2005-2007. My analysis further explores why American society fashioned particular representations of Tutankbamun, and Egypt as a whole from his tomb that contained insufficient connections with the historical King Tutanlqiamun. The study concentrates on three time periods distinct by heightened fascination - the opening of the tomb and the first and second museum touring of the Tut exhibits in the United States. The created images are exploited for monetary gain by the media while driven by Western society as a measure of our own cultural self--definition. Each modification of the Pharaoh reflects the changing culture of American society.