Made available in DSpace on 2016-04-26T14:53:39Z (GMT). No. of bitstreams: 1 Beatriz Fonseca Micsik.pdf: 20350551 bytes, checksum: dfaf22f4b11ff030434d83dca34a6921 (MD5) Previous issue date: 2012-06-01 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation aims to analyze questions about the study of rites of passage, more specifically those that involve the Dying and Death in order to outline the importance of funerary rituals in the Hindu and Egyptian civilizations. Anchored in the structures of analysis about the death of literature from the areas of Anthropology, History and Egyptology norteio my reflections on the theories developed to understand the encounters with thinking about the myth of immortality, and the relations of related strains in obtaining direct of eternal life. With that as a starting point, develop questions about the different treatments of the bodies within the funerary rituals, especially rituals of mummification made in ancient Egypt, and the cremation used by Hindus to be able to outline the importance of relations between conservation and destruction of bodies. We understand that funeral rituals are part of the collective memory of civilizations, just as the archaeological remains are part of the documents-monuments preserved for the studies of history and archeology that form the reference, since they keep the traditions of old cultures. To illustrate this concept use me iconographic references to better illustrate the permanence of these cultures. The methodology used to analyze the organization initially predicted iconographic and pictorial description of the sets of books, and photographic collections specialist, found the Internet and photos taken by me to visit the British Museum in London and the Vatican in Italy / A presente dissertação tem como objetivo analisar questões sobre os estudos dos rituais de passagem, mais especificamente àqueles que envolvem o Morrer e a Morte com o intuito de traçar a importância dos rituais funerários nas civilizações Egípcia e Hindu. Ancorada nas estruturas de analise sobre a morte a partir de levantamento bibliográfico nas áreas de Antropologia, História e Egiptologia norteio minhas reflexões nas teorias desenvolvidas para entender os encontros com o pensar sobre o mito da imortalidade, e as relações de tensões relacionadas na obtenção do direto da vida eterna. Tendo isso como ponto inicial, desenvolvo questões sobre os diferentes tratamentos dos corpos dentro dos rituais funerários, em especial os rituais de mumificação realizados no antigo Egito, e os de cremação utilizados pelos Hindus para que se possa delinear a importância das relações entre conservação e destruição dos corpos. Podemos entender que os rituais funerários fazem parte da memória coletiva das civilizações, da mesma forma que os vestígios arqueológicos são parte dos documentos-monumentos conservados a favor dos estudos de história e arqueologia que nos constituirão referencia, uma vez que elas guardam as tradições de culturas milenares. Para ilustrar tal conceito utilizo-me de referencias iconográficas para melhor ilustrar a permanência dessas culturas. A metodologia utilizada para a análise iconográfica previu inicialmente a organização e descrição dos conjuntos imagéticos em livros, e acervos fotográficos especializados, encontrados na internet e fotos tiradas por mim em visita aos museus Britânico em Londres e do Vaticano na Itália

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics. / The Classics

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Several twentieth century archaeological expeditions to Lower Nubia recovered the skeletal and cultural remains of C-Group populations mainly from cemetery sites between Shellal and the Second Cataract. Along with the remains of the more or less contemporary Pangrave and Kerma peoples, the C-Group archaeological sequence was assigned to the Middle Nubian Period which lasted from the Sixth to the Eighteenth Egyptian Dynasties and is dated from ca. 2200 B.C. to ca. 1500 B.C. Conflicting interpretations of C-Group socioeconomic conditions are inevitable since no systematic analysis of the data resulting from the excavations of Middle Nubian cemeteries has ever been undertaken. In an attempt to assess the extent of C-Group economic contact with the Egyptians and to resolve the issue of possible growing social differentiation within the C-Group community, a quantitative analysis of the mortuary remains from fifteen C-Group cemeteries was undertaken. The results indicate that the flow of a small number of Egyptian artefacts into Lower Nubia was relatively constant and that contact between Lower Nubians and Egyptians was probably quite limited. Egyptian portrayals of constant fluctuation in Egyptian-Nubian political relations do not correspond with the evidence from the Nubian archaeological record. The analysis also indicated that economic inequality amongst the Middle Nubian population was present in each date category and tended to increase over time. Socioeconomic differences were greatest during the middle of the Second Intermediate Period. These findings indicate that the Middle Nubian socioeconomic system tolerated increasingly conspicuous differences amongst its members. They are not consistent with the hypothesis that no increase in differential access to burial resources occurred between ca. 2100 and ca. 1550 B.C. and that C-Group social and economic conditions remained virtually unchanged throughout their 800-year history.

This thesis proposes that Egyptian tomb painting served as a housing for the Ka. The research examined the relationship between the tomb paintings and the Ka within the contemporary religious literature finding that they served this purpose. The first relationship incorporates the "Opening of the Mouth" ceremony which returns life to the deceased in both the texts and illustrations. The ambiguous nature of the texts refers the returning of life to the deceased. This includes all the parts of the soul (Ka, Ba, and Akh) and all physical and artistic representations. These paintings also support the Ka with depictions of food offerings. A secondary question addresses the identification of the deceased appearing in the paintings. Many variables apply in identification of the deceased. They include hieratic scale, canonical pose, hieroglyphics, accoutrements, and the orientation of the supporting figures. / Department of Anthropology

"A thesis approved by the University of London for the degree of PH. D." / Includes bibliographical references.

Thesis (doctoral)--University of Liverpool, 1979. / Includes indexes. Includes bibliographical references (p. 367-415).

Thesis (doctoral)--University of Liverpool, 1979. / Includes indexes. Includes bibliographical references (p. 367-415).

Thesis (doctoral)--Université de Paris I, Panthéon-Sorbonne, 1981. / Includes indexes. Includes bibliographical references (p. 281-312).