Kheperkarê Sésostris Ier est le deuxième souverain de la 12ème dynastie (vers 1958 – 1913 avant notre ère). Son règne, globalement bien documenté, a vu la (re)construction de plusieurs des principaux sanctuaires divins d’Égypte, dont ceux d’Amon-Rê à Karnak et d’Atoum à Héliopolis, et est à l’origine d’œuvres littéraires de première importance – certaines étant par ailleurs analysées en tant que pièces de propagande en faveur du roi après l’assassinat de son père, le pharaon Amenemhat Ier. Enfin, cette période est marquée par de nombreuses expéditions, militaires ou non, à destination de la Nubie ou des gisements de pierre et de minerais. Si la bibliographie relative à Sésostris Ier est loin d’être négligeable, tant en qualité qu’en quantité, force est de constater que certains aspects de son règne ont été négligés dans les études précédentes, non sans influencer notre perception de celui-ci et tout particulièrement notre connaissance de la chronologie et des différentes réalisations statuaires du souverain. La première partie de la présente thèse de doctorat ambitionne donc de préciser l’historique du règne de Sésostris Ier dans une perspective diachronique, et met en œuvre des ressources documentaires appartenant tant à la sphère royale qu’à celle des particuliers. Elle vise à établir le continuum temporel des diverses entreprises royales, et leur synchronisme éventuel, qu’il s’agisse du parachèvement de la conquête de la Nubie dans la deuxième décennie de son règne, de la construction de son complexe funéraire à Licht Sud dans la première moitié de celui-ci ou des multiples (re)fondations de sanctuaire, voir des expéditions vers les carrières du désert oriental durant les 45 années passées par Sésostris Ier sur le trône du Double Pays. C’est enfin l’occasion de définir une trame chronologique – malheureusement partielle – pour les œuvres statuaires du pharaon. La deuxième partie de cette étude est en effet consacrée à la statuaire royale de Sésostris Ier, et constitue un catalogue raisonné et critique inédit de quelques 87 pièces, complètes ou fragmentaires. Le catalogue tâche de sérier les statues suivant que leur appartenance au règne de Sésostris Ier me semble certifiée (C), que je les attribue personnellement à celui-ci (A), que leur datation de ce règne soit problématique (P), ou que les pièces se réduisent à des fragments iconographiquement peu signifiants (Fr). une étude typologique des regalia et des attitudes du souverain prolonge le catalogue, de même qu’une évocation de la polychromie des œuvres. La troisième et dernière partie est consacrée à l’étude critique des réalisations architecturales de Sésostris Ier et à l’insertion des œuvres statuaires dans ces espaces construits. Elle distingue les contextes proprement égyptiens, répartis entre Éléphantine et Bubastis, et les sites extérieurs à l’Égypte stricto sensu, à savoir la Basse Nubie et le Sinaï. Bien que reposant le plus souvent sur les seules sources publiées, qu’elles soient le résultat de fouilles archéologiques ou de documents contemporains du règne, l’interprétation de ces vestiges permet néanmoins d’apporter un éclairage nouveau sur plusieurs sanctuaires ou parties d’édifices, voire de proposer des solutions alternatives quant aux restitutions des bâtiments, en ce compris la localisation des statues du roi. Cette étude de la statuaire de Sésostris Ier et de ses contextes historiques et architecturaux offre un regard neuf sur une documentation régulièrement utilisée mais peu étudiée et peu analysée. Les principaux apports inédits concernent le canevas événementiel diachronique du règne et la réalisation d’un corpus statuaire critique du deuxième souverain de la 12ème dynastie.

Den här uppsatsens syfte har varit att kartlägga skillnader i representation av individer med dvärgväxt, från antikens Egypten fram till renässansen. Forskning har gjorts på detta utanför Sverige, men de fyra svenska människorna med dvärgväxt har inte tillfogats och jämförts med det utländska materialet innan denna uppsats. Metoden har varit en litterär jämförelse där andra författare har analyserats. De förhistoriska och historiska litterära verken som dessa författare undersökt har bland annat innefattat egyptiska papyrus, grekisk och romersk lagstiftning och medeltida dokument. Konst från dessa tider har också undersökts. Resultatet av uppsatsen har varit att uppfattningen av dvärgväxt har undergått stor variation genom förhistorien och historien. Ju längre tillbaka vi går desto högre tolerans finner vi. Dvärgar var populära i Egypten på ett sätt som återkommer i medeltidens och renässansens Europa, då hovdvärgar är på modet. Hur det har sett ut i Skandinavien är svårt att säga trots de mänskliga kvarlevorna som påträffats av individer med dvärgväxt. I uppsatsen tas även myter och folklore om dvärgar upp för att måla en djupare förståelsebild av acceptansen i samhället och hur legender kan antingen hjälpa eller stjälpa i sammanhanget.

Excavations conducted in A.D. 1894 and 1895 by French archaeologist Jean- Jacques de Morgan at the funerary complex of the ancient Egyptian Middle Kingdom pharaoh Senwosret III on the plain of Dahshur revealed some unparalleled finds which included five or six small boats. These boats provide a unique opportunity in nautical archaeology—to study contemporaneous hulls. Today, only four of the "Dahshur boats" can be located with certainty; two are in the United States, one in the Carnegie Museum of Natural History in Pittsburgh and one in the Field Museum of Natural History in Chicago. The remaining two are on display in The Egyptian Museum, Cairo. Since their excavation these boats remained relatively inconspicuous until the mid-1980s when a study of the two hulls in the United States was conducted. However, the two boats in Cairo remained largely unpublished. This thesis combines personal observation and recording of the Cairo boats over two summers to reveal more unique characteristics of the hulls and will facilitate a future study of the group as a whole. Each boat is discussed individually and is further divided into its major components by order of construction.

Jag har tidigare haft mina funderingar över att reflektera kring mitt eget verk och mitt eget komponerande. Funderingar om att det skulle bli för personligt och utlämnande. Det finns dock något spännande i att skriva om sig själv och sitt komponerande, en möjlighet att göra en resa inom sig själv. Så jag har i slutändan beslutat mig för att ta denna chans att skriva om mina tankar kring musik och om hur jag arbetar med utommusikalisk inspiration i mitt komponerande. Orkesterstycket Kanoper, den klingande delen av mitt examensarbete, är inspirerat av den egyptiska mytologin och gudavärlden; utan att jag är religös eller en anhängare av den gammelegyptiska tron, men jag har en förkärlek för det mytiska. Mytologi har varit ett stort nöje och en inspirationskälla för mig enda sedan jag var ett litet barn och jag lånade böcker om grekisk, egyptisk och nordisk mytologi från familjens bokhyllor, först kanske mest för att titta på bilder men allteftersom jag lärde mig läsa så var det några av de första böckerna jag läste. Jag tycker att den egyptiska mytologin lämpar sig väl för de undertonerna jag vill jobba med när jag skriver mina stycken samt inspirerar till de klangerna jag vill ha med i mina kompositioner. / <p>Bilaga: 1 partitur.</p>

The Egyptian religion viewed the whole world as divine and inhabited by both gods and men. Concepts such as death was therefore explained through myths. The ancient society feared death but desired an eternal life. The Egyptians saw death as a physical dismemberment of the body as had happened in the myth of Osiris when death was first introduced to the world. Osiris functioned as a prototype for all men as he had overcome death by finding a new existence in the netherworld. He was not viewed as a resurrected deity but as a god who had found a way to live forever after death. Funerary texts were developed to help the Egyptians navigate the netherworld, overcome trials and dangers, and to become Osiris. These were an extensive corpus of texts which was placed in the grave with the deceased. By analyzing the New Kingdom’s Book of the Dead the Egyptians’ fear of death can be clearly interpreted in the spells which the book contains. In the Book of the Dead there are 189 spells which functions to secure an eternal life after death by protecting the dead from a number of horrible fates. The book depicts a number of dangerous animals and beings in the netherworld which the spells would offer protection from. There are also incantations for things taken for granted on earth such as breathing, walking upright, not eating faeces or drinking urine. The need to formulate these spells shows an underlying fear of death, and deliverance came by using the Book of the Dead. To preserve the body of the deceased in the grave was of the outermost importance since eternal life could only be achieved if the remains worked as a link between the living world and the land of the dead. That is why the Egyptians developed such a complex funerary ritual and mummified the remains, preserving it forever. Fear of death is derived from the descriptions of it as an isolation, total destruction, dismemberment, and decomposition. The purpose of the ancient Egyptian Book of the Dead was to counteract this fate as it assured the deceased of an eternal life.

Thesis (M. A.)--Texas A&M University, 2005. / "Major Subject: Anthropology" Title from author supplied metadata (automated record created on Apr. 27, 2007.) Vita. Abstract. Includes bibliographical references.

This thesis provides a detailed interpretation of three key texts described in Egyptological research as "coronation inscriptions:" the Historical Inscription of Hatshepsut, Thutmose III's Texte de la jeunesse, and Horemheb's Turin inscription. Similarities and differences between these texts, as well as other sources, both textual and pictorial, are discussed. A clear terminology is laid out, distinguishing between accession (the royal heir becoming king at the death of their predecessor), crowning (the action of placing the crowns on the new king's head), and coronation ceremony (following the accession by some time on which occasion the new ruler would have been bestowed with the crowns and regalia of his office, perhaps for the first time). The main aim of this thesis is to determine whether it would be accurate to label the discussed texts as coronation inscriptions and, if not, how they can best be described. It is determined that the evidence supports the earlier conclusion reached by Redford, that it would be incorrect to speak of a “coronation ceremony” in the dynastic period, for new kings would have been crowned at their accessions in a palace setting, soon after the death of their predecessors, this followed some time later by a public “appearance ceremony” in a temple festival setting. While it is determined that Thutmose III's inscription describes the time when kingship was predicted to him, it is concluded that the Hatshepsut and Horemheb texts narrate exceptional events on which occasion their accessions in a palace and public "appearance ceremonies" intersected.

This thesis studies how three Greek writers differentiate between each other in their texts about ancient Egypt. The three writers included in this thesis are Herodotus, Diodorus Siculus and Plutarch. Their texts describe Egypt and its many aspects, and the names of their texts are as following; Histories and Library of History by Herodotus and Diodorus, and De Herodoti malignitate, De Iside et Osiride and Placita Philosophorum by Plutarch.        This thesis is comparing these writers with each other using two case studies; The Nile and Egyptian cleanness for their gods. The case studies were chosen to limit this thesis upon two aspects of Egypt that the writers should have encountered if they went to Egypt. This brings a theory to light; if the writers' texts are truthfully representing Egypt or if their texts are nothing but literature constructions. This thesis is also looking at how Egyptians are portrayed by the writers with use of the theory the other.        By reading the texts and modern literature about the writers a conclusion is made. The writers are different from each other in their descriptions of Egypt. Herodotus and Diodorus view Egypt as a wonderful land with a wonderful culture. Plutarch is also portraying Egypt with respect as Herodotus and Diodorus but does at the same time view Egypt with a more negative view. This is because Plutarch believes that the Greek culture is the foremost culture in the world.        A problem with all the writers’ texts is based upon that they did not speak ancient Egyptian and could therefore not make use of all the sources presented to them. Herodotus is viewed to not even have visited Egypt. Their texts are to be looked at with a grain of salt even though they clearly tried to represent Egypt as well as they could in their texts. Their texts are to be view as a literature construction simply because the writers did not understand Egyptian and therefore relied on earlier texts about Egypt made in Greek.

La « dissimilation graphique » est une particularité récurrente des écritures égyptiennes, en particulier à l’Ancien Empire (IIIe-VIe dynasties, env. 2700/2150 av. J. C.). À cette époque, la pluralité (aussi bien grammaticale que lexicale) était indiquée par le triplement des sémogrammes, signes investis d’une valeur sémantique et censés permettre la compréhension des lexèmes. De ce fait, si les idéogrammes et classificateurs étaient d’ordinaire répétés trois fois à l’identique, la « dissimilation » désigne les occurrences dans lesquelles ces trois signes sont distincts. Par exemple, si un mot comme bAk.w, « serviteurs », est traditionnellement accompagné de trois hommes assis, l’un d’entre eux pourra être remplacé par une femme en cas de dissimilation. De même, si mHy.t, « poissons », comprend habituellement trois poissons de même espèce, sa version dissimilée offrira trois espèces différentes. Cette thèse se donne pour objectif d’analyser de façon systématique la dissimilation graphique, majoritairement attestée dans les inscriptions hiéroglyphes des tombes royales et privées, mais également dans certains documents hiératiques. À travers cette étude, les raisons supposées de l’existence de la dissimilation graphique sont exposées. En conséquence, la classification égyptienne se voit placée sous de nouveaux éclairages. De plus, par l’examen d’un nombre important de textes égyptiens de l’Ancien Empire, de nouvelles analyses des fonctions des signes qui les composent seront proposées afin d’éclaircir certaines zones d’ombres de la linguistique égyptologique. / The peculiarity called “dissimilation graphique” is recurrent in Egyptian writing systems, particularly during Old Kingdom (Dyn. III-VI, ca. 2700-2150 BC). At this time, plurality (grammatical and lexical) is indicated by the threefold of semograms, signs that have a semantic value and allow to understand the lexemes. Thus, if ideograms and classifiers are ordinary reproduced three times identically, “dissimilation” refers to occurrences where these three signs are different. For example, if bAk.w, “servants”, is usually followed by three men, in case of dissimilation, one of them can be replaced by a woman. In the same way, if mHy.t, “fish”, habitually takes three identical fish, a dissimilated version will show three different species. This Ph.D Thesis aims to analyse in a systematic way the process of “dissimilation graphique”, mostly found in hieroglyphic inscriptions of royal and private tombs, but also in some hieratic documents. Through this study, the supposed reasons of dissimilation are exposed. Consequently, Egyptian classification is newly enlightened. Moreover, in examining a great number of Old Kingdom texts, new analysis of the signs functions are proposed to clarify some unclear elements of egyptological Linguistics.

The aim of this work is to familiarize the reader more closely with the issue of male circumcision in ancient Egypt and ancient Israel, and subsequently also in Judaism, and to outline how the theme of Jewish circumcision was adapted by Christianity. It describes the custom of male circumcision in ancient Egypt using pictorial and textual evidence, including findings on mummies. It looks for similarities and differences between male circumcision in ancient Egypt and in Judaism, in which it represents one of the most important rituals, and a sign of belonging to God and the nation. Attention is also given to the significant transformation in Christianity to the new initiation ritual of baptism, and opinions damning circumcision. Biblical themes, including the mystery of Jesus' circumcision and Christ's crucifixion, are reflected in European visual art, which is discussed in the final part of the work. Powered by TCPDF (www.tcpdf.org)