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mïmï appears to have diverse applications, appearing in administrative documents, jar labels, depictions of commodity transportation, as well as being used in therapeutic recipes. To date, a consensus for its translation has not been reached. This article re-evaluates the suitability of past identifications in terms of new perspectives in Egyptology, and explores an extended corpus of source material that together suggest a new identification, 'linseed', is more appropriate. The hypothesis is further supported through the recreation and discussion of the materiality of ancient Egyptian medical recipes composed of mïmï and other ingredients with secure translations, and demonstrates: 1) that linseed was a commodity which was taxed, stored, and distributed by the ancient Egyptian administration; 2) that the effect of this product upon the body was observed and harnessed in therapeutic medical recipes. [ABSTRACT FROM AUTHOR]

Much of the fascination surrounding Egyptian civilization is linked to the practice of mummification. In fact, to ensure the preservation of the body, the ancient Egyptians mummified both human and animal subjects. However, mummified animal remains are less well studied, although they represent a significant part of the material culture and history of ancient Egypt. The introduction of non-invasive imaging methods has allowed researchers to study the material hidden within the wrappings of mummies. In this article, the cat mummy currently exhibited at the Museo Etnologico Missionario di San Francesco di Fiesole (Florence, Italy), originating from Luxor and legally acquired during an expedition in the 20th century, was analyzed using computed tomography (CT). The CT enabled the identification of the casing content, showing the presence of an entire cat skeleton. The cat had several fractures, some of which were identified in the cervical region, possibly related to the cause of death. Furthermore, the zooarcheological analysis allowed the identification of the age at death of the cat, providing further information about the story of the mummy. This research provides a further contribution to the analysis of mummies, with a case study of a cat mummy that emphasizes the importance of CT scans in humanistic studies and museum environments. [ABSTRACT FROM AUTHOR]

Copyright of Mağallaẗ Al-Dirāsāt Al-Tārīẖiyyaẗ wa Al-Ḥaḍāriyyaẗ Al-Miṣriyyaẗ is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on how natural theology influenced John Gardner Wilkinson's Egyptology, balancing Biblical views with emerging geological theories. It reexamines Wilkinson's scholarship, presenting him as someone who integrated religious and scientific perspectives, rather than adhering strictly to fundamentalist views.

The youngest daughter of one of the northwest of England's largest cotton magnates, Annie Barlow, was a well-educated and passionate woman. At the time of studying English Literature and History in London in 1880 to 1882 she became involved with the newly formed Egypt Exploration Fund, and at just nineteen years old became one of the first, and youngest, Honorary Local Secretaries for Bolton and the surrounding area—a roll she held for almost sixty years up to her death in 1941. The social circles opened to her by her father and brothers included world business leaders, academics and royalty. Through lectures, exhibitions and many cups of tea, Annie proclaimed the work of the fund across the United Kingdom, while modestly keeping her own efforts unannounced. Her fundraising surpassed that of many other local secretaries and led to the amassing of the largest collection of Egyptology in a local authority museum in the UK at Bolton Museum. Her travels took her far and wide, and she too built a sizeable collection of antiquities. Her passion for history, driven by a desire for educational development and religious devotion, was transmitted to those whom she met. It was through her influence and intimate knowledge of textile production that Bolton and its first curators became a renowned center for textile analysis, with excavators sending material to Bolton to aid their interpretations. During the First World War, Annie and her family homed European refugees. Her support for one girl in particular, Raymonde Frin, became a life-long friendship. Growing up under the wing of Annie, and surrounded by private collections of ancient material, Raymonde developed a passion for archaeology. Annie's financial legacy directly supported the development of Raymonde's life. Eventually achieving formal archaeological qualifications, she went on to be an integral part of the newly formed UNESCO museums and monuments division, becoming its first editor for Museums International Magazine, and involved in projects to save Egyptian heritage. This paper will look at the two women, Annie and Raymonde, within the context of women collecting and museum work, and their legacy for collections, in particular Egyptology, to the current day. [ABSTRACT FROM AUTHOR]

Various decision theories share a troubling implication. They imply that, for any finite amount of value, it would be better to wager it all for a vanishingly small probability of some greater value. Counterintuitive as it might be, this fanaticism has seemingly compelling independent arguments in its favour. In this paper, I consider perhaps the most prima facie compelling such argument: an Egyptology argument (an analogue of the Egyptology argument from population ethics). I show that, despite recent objections from Russell (Noûs, 2023) and Goodsell (Analysis 81(3):420–426, 2021), the argument's premises can be justified and defended, and the argument itself remains compelling. [ABSTRACT FROM AUTHOR]

The essay argues that Eurocentric modernity continues to impact how ancient Egyptian language and literature is experienced, researched, and taught in Arabic-speaking Egypt as a direct result of its colonial history. It explores some reasons and justifications for the omission of Egyptian Egyptologists from the century-long formation and evolution of ancient Egyptian literary and linguistic studies. This hegemonic approach still causes intellectual suffering for those who were/are colonized. The essay seeks to deploy analytical approaches from the Arabic literary tradition to decolonize the overwhelming and illogical divorce between linguistic and literary studies. A comparative reading of ancient Egyptian literary devices provides the grounds for a further argument, which concerns more broadly the ways in which scholars should approach the literary devices of ancient Egyptian texts, and opens the door to previously unexplored literary and linguistic approaches. The aim of this essay is to investigate the possibility of offering a new and a closer textual reading of ancient Egyptian literary devices, based on Arabic balāghah methodology (literally, eloquence, and roughly translated as poetics). This comparative approach demonstrates that Arabic scholarship can reclaim a respected space in the knowledge production that re/defines the cultural heritage of ancient Middle Eastern literature(s). The essay calls upon Euro-American and Arab academics to endorse various methodologies of "intellectual decolonization" in order to avoid reinscribing the long-established Eurocentric elements of coloniality and to invest more deliberate efforts in helping ancient Middle Eastern literary cultures to speak for themselves without any impositions rooted in Eurocentrism or Arabocentrism. [ABSTRACT FROM AUTHOR]

Copyright of Arab International Journal of Library & Information is the property of Arab Institution of Knowledge Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Memory is the topic of many modern engagements with antiquity, and it is also the modus operandi of many modern adaptations of antiquity, driven and shaped by the ever-changing ways in which 'the classics' are conceptualised within different time-periods and socio-cultural contexts. Popular awareness of classical materials, their socio-economic status, how famous characters and stories are perpetuated through mnemonic adaptation – these are important factors of memory-driven reception that deserve to be investigated as part of classical reception studies. In this article, we thus propose ways in which interdisciplinary connections between memory studies and classical reception studies can be established. [ABSTRACT FROM AUTHOR]

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1909, Egyptologist James Henry Breasted sent a letter to Booker T. Washington, along with a copy of an article Breasted had recently published in The Biblical World. To fully understand the short correspondence between the two scholars, this article delves into three related topics: Washington’s philosophy of industrial education and its complementarity with the educational program of his contemporary W. E. B. Du Bois; Washington’s prominent standing in educational, political, and social circles, including his professional relationship with the president of the University of Chicago William Rainey Harper and his advisory role to US president Theodore Roosevelt; and Breasted’s perspective on race and Egyptology. Washington, unlike Breasted, considered connections between ancient Nile Valley cultures and cultures elsewhere in Africa, a point of inquiry that has recently gained momentum in a variety of fields. In the correspondence between Washington and Breasted, we see demonstrations of precarity and privilege as related to scientific research, an imbalance seen also in the infamous syphilis study carried out at Tuskegee. This article points out the continued need to interrogate benefit by asking who constructs research questions and whom does research benefit.

The article describes the publication of a new stela of the Chief Treasurer Maya from the time of Tutankhamun-Horemheb, with a long hymn to the rising sun. The stela, which was in the possession of Linant de Bellefonds, is only known through a handwritten copy by Auguste Mariette. There is no doubt that it comes from Maya's tomb in Saqqara. The stela shows Maya standing before the deities Atum and Re-Horakhty. The lower part of the stela consists of 20 lines of hieroglyphic text, with the last 3 lines almost completely destroyed. The text consists of two parts: lines 1-8, a hymn to the rising sun, and lines 8 and following, a concluding prayer with a list of blessings that the speaker, Maya, hopes to receive from the sun god. The hymn is an original composition or variation, while the prayer is based on the composer's personal oral improvisation. There are parallels to other inscriptions from the time of Amenhotep III to the end of the dynasty, but the arrangement is unique. The exact meaning of some passages remains uncertain. The Linant stela dates from the New Kingdom and is the only known source from this period. It is the counterpart to a limestone stela that was originally placed on the south side of the west wall of the portico in the outer courtyard of Maya's tomb in Saqqara. The stela was discovered together with three statues and a block in the Leiden National Museum of Antiquities. It is believed that the stela was found before the Lepsius expedition, which explored the tomb in the 1840s. The stela contains hymns to the sun god Re-Horakhty and the night sun god Osiris. The given list includes a number of books and articles on various topics related to ancient Egypt. The mentioned works deal with topics such as Egyptian religion, hieroglyphs, tombs, and texts from the New Kingdom. Various authors and their works are also listed. The list does not provide cohesive information or a main focus, but serves as a reference for further research in the field of Egyptology. The text describes various scientific publications and research in the field of Egyptian archaeology. Various topics are covered, including excavations in Saqqara, the representation of the afterlife in ancient Egypt, and the significance of inscriptions and reliefs. Specific artifacts and tombs are also mentioned, such as the stela of Maya and the tomb of Kheruef. The publications come from different years and were written by different authors. [Extracted from the article]

Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are 'surprising', 'innovative', and 'fresh', celebrating the external perspective they bring to such collections. But contemporary art's relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production. [ABSTRACT FROM AUTHOR]

Amelia B. Edwards (1831–1892) was renowned for her profound mastery of Egyptology, possessing a knowledge some said surpassed that of her male counterparts. Her archaeological endeavours in Egypt merged with a vivid narrative approach, evident in seminal works such as A Thousand Miles up the Nile (1877) and her captivating lectures across Britain and America. This harmonious blend of meticulous observation and romantic aesthetics not only carved her niche as a distinguished Egyptologist, but also heralded her as a forerunner in public history, adept at fusing erudite exploration with charming storytelling. Set against the tapestry of the Romantic era, Edwards forged a distinctive narrative, eschewing traditional academic boundaries to imbue her writings with heartfelt sentiment. This article delves into Edwards' impact on Egyptology's popularization: from her pivotal 1873 Egyptian sojourn, followed by her compelling lectures, to her personally curated Egyptian collection at home. With an adept fusion of artistic verve and academic rigour, Edwards bridged literature and archaeology. Her legacy signifies a refreshing deviation from orthodox methodologies, presenting a more immersive perspective on ancient Egypt. In stark contrast to the staid styles of her contemporary archaeological peers, she proclaimed herself the only romancer also versed in Egyptology, ardently championing a scientific discourse with broader appeal. [ABSTRACT FROM AUTHOR]

In recent years, there has been considerable interest in the eighteenth- and nineteenth-century cultural practice of Britons wearing indigenous dress, as well as debate as to what motivated people to re-fashion their identity in such radical ways. Typically, these practices have been viewed either as acts of cultural appropriation, or occasionally as acts of solidarity with other cultures. This article focuses on one individual, the antiquarian Egyptologist Sir John Gardner Wilkinson (1797–1875), who wore Turkish dress whilst in Egypt, and was depicted wearing the same dress by the portrait artist Henry Wyndham Phillips, in 1843/44. Despite being reproduced in countless histories of Egyptology, archaeology and beyond, there currently exists no sustained critical analysis of Wilkinson's relationship with this costume. I contend that Wilkinson's choice of Turkish dress and his engagement with such clothing was both sustained and complicated. It reflected simple practicalities, but also an awareness of socio-political conditions in Egypt which were inadequately understood at an official level, due to high-handed expectations about how Britons should and should not behave, to bolster Britain's national image abroad. At the same time, the same clothing could be interpreted differently by other audiences, and Phillips's painting of Wilkinson – the components of which are identified for the first time – emerges as an attempt at self-fashioning on Wilkinson's part, to cement his recently acquired status as a recognized authority about ancient Egypt. These concerns are applicable to other western scholars and travellers active in the Near East in the early nineteenth century. [ABSTRACT FROM AUTHOR]

Much of the fascination surrounding Egyptian civilization is linked to the practice of mummification. In fact, to ensure the preservation of the body, the ancient Egyptians mummified both human and animal subjects. However, mummified animal remains are less well studied, although they represent a significant part of the material culture and history of ancient Egypt. The introduction of non-invasive imaging methods has allowed researchers to study the material hidden within the wrappings of mummies. In this article, the cat mummy currently exhibited at the Museo Etnologico Missionario di San Francesco di Fiesole (Florence, Italy), originating from Luxor and legally acquired during an expedition in the 20th century, was analyzed using computed tomography (CT). The CT enabled the identification of the casing content, showing the presence of an entire cat skeleton. The cat had several fractures, some of which were identified in the cervical region, possibly related to the cause of death. Furthermore, the zooarcheological analysis allowed the identification of the age at death of the cat, providing further information about the story of the mummy. This research provides a further contribution to the analysis of mummies, with a case study of a cat mummy that emphasizes the importance of CT scans in humanistic studies and museum environments.

The history of archaeology, and of Egyptology, has traditionally been written as a linear narrative of progress, with narrow-minded amateurs—the antiquaries—giving way to professional archaeologists. For some, Joseph Hekekyan's excavations (co-directed by Leonard Horner) at Memphis and Heliopolis in the 1850s have been seen as a turning point, when the geological principle of stratigraphy was applied to archaeology, thus giving rise to methodical scientific excavation. This article challenges the existing narrative by showing how critiques of Hekekyan's excavation and Horner's interpretation, by the antiquary and historian Samuel Sharpe, inspired the eminent geologist Charles Lyell to seek the opinion of John Gardner Wilkinson, another leading antiquarian Egyptologist, as to the validity of the excavations. Wilkinson's specialist knowledge of Egypt enabled him to identity the problematic assumptions that underpinned the excavation programme, which other leading scholars had missed. Though Lyell was unsuccessful in obtaining the support he desired, he became aware of the more complex situation on the ground in Egypt. Instead of ushering in an age of scientific Egyptology, the Horner–Hekekyan programme highlights how new methodological techniques were contested by contemporaries, and did not immediately or necessarily translate into improved knowledge: a much-neglected dimension in fieldwork-centred disciplinary histories. [ABSTRACT FROM AUTHOR]

This paper is based on a study of the ancient Egyptian papyrus text (Berlin 3024), “Conversation between a man weary of life and his soul-bar,” especially as translated and interpreted by H. Jacobsohn. The text was written approximately four thousand years ago and is believed to have been written in the period of turmoil before the collapse of the Old Kingdom and the beginning of the Middle Kingdom. As the absolute power of the pharaoh waned, so did the belief that one could rely on it for eternal life, and the Egyptians of that time began to be more concerned with their own internal lives than with the external world. In this story, the “life-weary” man experiences a mental crisis and even suicidal thoughts, but as he works through the crisis with his spirit, Ba, in the ancient Egyptian community, he discovers his internal world. [ABSTRACT FROM AUTHOR]

The Náprstek Museum of Asian, African and American Cultures keeps a small collection of fragments of ancient Egyptian qeresu-coffins dated to the Late Period (ca. 747-332 BCE), specifically the Twenty-fifth Dynasty (ca. 747-664 BCE). Five of the six pieces came from the Monthu priests' burials at Deir el-Bahri and have been already published in the past. The sixth unprovenanced specimen, Inv. No. P 4551, is dealt with in the present paper. While its provenience remains unknown it was accessioned as part of the former study collection of the Czechoslovak Institute of Egyptology, Charles University in Prague. The decoration of the piece comprises of depictions of two Sons of Horus, Amset and Hapi, with captions and partially preserved texts of two chapters of the Book of the Dead, namely the Chapter BD 1 and Chapter BD 72. Both of these spells represented typical components of the decoration of coffins. Based on the texts, the anonymous owner of the coffin could be identified as a woman. The stylistic analysis confirmed the dating of the fragment to the Twentyfifth Dynasty and its Theban provenience. [ABSTRACT FROM AUTHOR]

Following its participation in the UNESCO International Campaign to Save the Monuments of Lower Nubia, the Czechoslovak Institute of Egyptology received a donation of a share of finds acquired during its course by the Egyptian government. These objects are presently kept as a part of the collections of the Náprstek Museum of Asian, African and American Cultures. Most of the finds from the UNESCO campaign have already been thoroughly examined and published. A set of several rock inscriptions removed from the area of Naga el-Girgawi, located a few kilometres downstream from Korosko, was published by Zbyněk Žába in his publication titled The Rock Inscriptions of Lower Nubia. (Czechoslovak Concession) in 1974. However, this publication is lacking, due to objective reasons, a proper correlation with the Náprstek Museum's inventory. The aim of this paper is to supplement the original publication in this regard as well as provide further documentation of the pieces. [ABSTRACT FROM AUTHOR]

The study of ancient Egyptian mummies is of great interest to scientists and the public in general. Recent research highlights the need for a new reading of the science of mummification using the latest scientific methods of examination such as CT scanning. In the last forty years, many non-destructive CT scanning studies of Egyptian mummies from different museums and collections in Egypt, Europe, and the USA have been conducted, proving to be powerful tools in current research studies of ancient Egyptian human remains. CT scanning can identify which type of embalming techniques were used to preserve each mummy and have revealed that ancient Egyptian embalmers used methods to maintain the external shape of the mummy by inserting filler material under the skin during the 3rd Intermediate period. The main aim of this research is to thoroughly study Tjanefer, a mummy of the 3rd Intermediate period, to demonstrate the level of sophistication of the mummification technique reached during this period. [ABSTRACT FROM AUTHOR]

This essay explores the tensions surrounding Afrocentrism in Egypt, exemplified by recent controversies over depictions of Cleopatra in cinematic productions. It examines the clash between Egyptian nationalist narratives and Afrocentric interpretations of ancient Egypt's Black heritage and advocates for a more nuanced understanding of race when navigating complex historical legacies. [ABSTRACT FROM AUTHOR]

The interest in the Turin Papyrus, which records the names of the kings of ancient Egypt, began with its study by Champollion at the Turin museum in 1924. It was followed by the efforts of other scholars, who recognized its importance as the first papyrus to accurately record the timeline of Egyptian kings since the beginning of the coronation of kings in prehistory, proving that Egypt's civilization was the most ancient worldwide with its system, governance, and administration, in commemoration of the major events that it experienced, and in following up on the lineage and sequence of its kings. However, this importance quickly faded, and the content of the papyrus about those first periods, dating back to 36.620 years before the rule of King "Narmer" BC, was ignored. This is evidenced by most studies on the beginnings of the ancient Egyptian civilization that began with the attempts to unite Egypt, especially in 3000 BC, where the rule of the main king of unity began. This motivated me to explore this theme in an effort to determine the importance of this papyrus and the truth about the beginning of the rule of kings in ancient Egypt. [ABSTRACT FROM AUTHOR]

The article explores the role of the spine in ancient Egyptian medicine through an analysis of medical texts, depictions, and mummified remains. The ancient Egyptians had a comprehensive system of healing that combined science, spirituality, and practical knowledge. They used herbal medicine, surgical procedures, and practical treatments such as bandaging and splinting. The Edwin Smith Papyrus, one of the oldest medical texts, provides detailed instructions for surgical procedures on the spine. The article also discusses the ancient Egyptians' understanding of spinal anatomy and their recognition of conditions like dislocations and herniations. Examination of mummified remains and artistic artifacts further reveals insights into the prevalence of spinal disorders in ancient Egypt. Overall, the study of ancient Egyptian medicine enhances our understanding of the medical practices and perspectives on spinal health during that time. [Extracted from the article]

The material study of ancient Egyptian paintings began with the advent of Egyptology during the 19th century. By the 1930s, a lot had already been sampled and described. The limited palette for example has been analysed from actual painted surfaces but also from pigments and painting tools retrieved on site. However, most of these studies took place in museums while the painted surfaces, preserved in funerary chapels and temples, remained somewhat estranged from this primary physical understanding. The artistic process has been also reconstructed, mainly from the information presented by unfinished monuments, showing surfaces at different stages of completion. A lot of this modern and theoretical reconstruction is, however, based on the usual archaeological guessing game that aims at filling the remaining blanks. Our interdisciplinary project has decided to experiment on-site with state-of-the-art portable analysis tools, avoiding any physical sampling, to see if our knowledge of the work of the ancient Egyptian painters and draughtsmen could be taken at a further stage, while based on physical quantification that could be seen as a stronger and more reliable foundation for a redefined scientific hypothesis. The use of XRF mapping has, for instance, been applied to a known case of correction by surface repaint, something that is supposedly rare in the ancient Egyptian formal artistic process, while another fully unexpected one was discovered during the analytic exploration of a royal representation. In both cases, the precise and readable imaging of the physical composition of the painted surface offers a renewed visual approach based of chemistry, that can be shared through a multi- and interdisciplinary approach. However, this also leads to a more complex description of pigment mixtures that could have multiple meanings, where the practical often leads towards the symbolic, and from there hopefully to a renewed definition of the use of colours in complex sets of ancient Egyptian representations. At this stage, though the progress in this on-site material assessment of ancient works of art definitely means astonishing progress, one humbly has to face the fact that these ancient treasures shall still retain part of their defining mysteries. [ABSTRACT FROM AUTHOR]

Northeast Africa is dominated by two linguistic macrofamilies, Afroasiatic, with its constituent branches of Egyptian, Semitic, Berber, Cushitic, Chadic, and Omotic, and the Nilo-Saharan languages, with the most relevant phylum being the Eastern Sudanic branch spread across the Sahel and East Africa. On present research, there is evidence for contact between ancient Egyptian and ancient Berber, Cushitic, and Eastern Sudanic languages, with possibilities of contact with Ethiosemitic languages (the Semitic languages of Ethiopia and Eritrea). Evidence of Egypt’s contact with neighboring peoples in Northeast Africa is well established from the archaeological record and historical texts, especially along the Middle Nile (Nubia). The use of linguistic material, including loanwords and foreign names, for reconstructing ancient phases of contact between Egyptians and neighboring peoples is a relatively “untapped” source. The lexical data demonstrates a great familiarity and exchange between Egyptian and neighboring languages, which, in many cases, can be attributed to specific historical phases of contact through trade, expeditionary ventures, or conflict. Impediments remain in reconstructing the ancient “linguistic map” of neighboring Africa and our reliance on modern dictionaries of African languages for identifying ancient loanwords. Despite this, the stock of foreign words in the Egyptian lexicon is incredibly important for piecing together this “map.” In many cases, the ancient Egyptian lexicon contains the earliest data for foreign languages like Meroitic, Beja, or Berber.

The research deals with the dilemma of the primacy of the affiliation of theater art to the Greeks at the expense of the ancient Egyptian Civilization. The flourishing of theater and drama in Greece does not mean that the first beginnings of the theater were Greek, as theater was found in some ancient civilizations that preceded the ancient Greek civilization. And if it had taken a different form of theater as the Greeks knew, it does not mean that those great theatrical works that the Greeks knew in the fifth century BC were the first beginnings of this type of art. But reason, logic and artistic readings of antiquities generally rule out that humanity which achieved amazing scientific and artistic achievements in ancient Egypt was unable to discover drama and theater and that it lived without knowing the core fundamentals of theater arts until the Greeks came and achieved what ancient Egypt failed to achieve. The art of theatre in general has many other conceptions that express in particular the thoughts and beliefs of ancient cultures and peoples, especially in ancient Egypt. Therefore, these forms and perceptions must be taken into account if we want to understand the idea of theater, its history, philosophy, components, and the role it plays in the life of the individual and society. Accordingly, any attempt to return theatre and drama to the Greeks alone, adherence to the idea of the Greek origin of theatre, and denying the existence of theatre

The aim of this study is to present those works that are particularly interesting for the research of Egyptian ceramics during the New Kingdom (1539-1077 BC), for those who are new to the world of Egyptology and, in particular, to the study of Egyptian ceramics. At the same time, we show some works that could be useful to know the main events in the historical context that took place during the dynasties that cover this period of Egypt’s History. On the other hand, despite the fact that today there are monographs and works on paper that are not available on the web, which are conceived as works of obligatory consultation, we have the opportunity to access to tools and resources that numerous web pages facilitate the world of research. This paper presents some of the above mentioned web resources.

{AR} تركز دراسات الفخار على قيمته الجمالية إلا أن أي تغييرٍ في سمة من سمات الإناء الفخاري ينتج عنه تغير في السمات الأخرى؛ ولقد تأخرت كثيرا تلك الدراسات التي تتناول تغير تقنية صناعة الفخار من فترة لأخرى، لذا فإن الدراسات الحديثة تحث على دراسة نسيج الفخار، والذي يحتوي على المواد المضافة التي لم تدرس بعد بشكل منتظم؛ نظراً لأن فترة العصر الحجري الحديث في مصر تُوصف بأنها غير مفهومة تناولت هذه الدراسة المواد المضافة التي تظهر في نسيج الفخار بعد الحرق والمستخدمة في صناعة الأواني الفخارية في حضارات وادي النيل في مصر خلال العصر الحجري الحديث مثل الفيوم ومرمدة بني سلامة وحلوان/العُمري والبداري؛ ونظراً لقيام الدراسات السابقة بتحديد المواد المضافة في نسيج الفخار لكن دون الاهتمام بوظيفة واستخدامات تلك الأواني الفخارية قامت هذه الورقة البحثية بتحديد العلاقة بين هذه المواد واستخدامات الأواني بوصفها سلوكاً بشرياًّ فردياًّ توجد بينه وبين السلوك الاجتماعي علاقة مباشرة وكذلك العلاقة بين المواد المضافة للإناء الفخاري والزخارف المنفذة عليه. استخدمت الدراسة المنهج التاريخي والوصفي التحليلي الخاص بتحليل هيكل التصميم – أي التصور المسبق - ووجدت أن فخار الفيوم كان فخاراً خشناً مضافاً له مواد نباتية ومعدنية، وهو يختلف بذلك عن فخار مرمدة بني سلامة التي افتقرت أوانيها للإضافات مع صقلها أفقياً ثم زادت الخشونة والأشكال وقلَّت الزخارف. واحتوت أواني حلوان/العُمري على المغرة الحمراء أحياناً، ثم ظهرت تركيبات متنوعة الخشونة في فخار البداري مما يعني وجود استخدامات محددة للأواني, وهو ما يعكس تطور المجتمع وتطور صناعة الفخار؛ لذا تستنتج هذه الدراسة أن المواد المضافة التي تظهر في نسيج الأواني الفخارية بعد الحرق لها علاقة بزخارف وفنون ما قبل التاريخ {EN} Pottery attributes have an intricate nature; any change in one attribute leads to changes in the others. Studies of technological change over time arrived late in the discipline. Hence, pottery studies call for shedding more light on composition, which includes temper that was only sporadically studied. The Neolithic of Egypt was described as not being well understood. Therefore, this paper dealt with temper in pottery vessels during the Neolithic of the Nile Valley in the cultures of Fayum, Merimde, el-Omari and Badari. Previous studies identified the additives in the fabric of the pottery, but without paying attention to the function and uses of those pottery vessels, this research paper determined the relationship between these materials and the uses of the pots as individual human behavior with which there is a direct relationship with social behavior, as well as the relationship between the materials added to the pottery vessel and the decorations implemented on it. This study traced the development of temper using descriptive and analytical theoretical frameworks, namely design structure analysis. Results confirmed that temper changed and developed overtime. Fayoum pottery was tempered with plant and mineral material. Even within the same culture, like in the case of Merimde, temper changed from un-tempered clay with polished surfaces, then later adding temper. The latter practice resulted in rougher pots with fewer decorations and more forms. The red color was sometimes added as a temper to pottery from el-Omari. Badari pots showed the use of particular Nile fabrics: A, B, and C, reflecting the specific use of vessels, which coincided with an increase in social complexity and the development of pottery production within the society. This study confirmed that pottery temper could be studied from an artistic perspective.

The research investigates the roots of scenography in ancient Egypt, especially in the era of King Akhenaten, in the 18th Dynasty in the new kingdom, specifically in his capital, Akht-Aten, in Upper Egypt. Dealing with the use of scenography in the absence of the term at this time, to consolidate the content of the Athenian religion in Egypt at that time.The ancient Egyptian artist was not only thinking about the construction of his timeless buildings to emphasize his strength and prestige, or the status of his old religion. His great civilization was not the result of a mere and or his absolute creativity of the arts of that period. But it was based on philosophical rules that were formulated by the art of scenography as a comprehensive science for the use of the arts in landscape; according to a preconceived idea and planning stemming from the potential of his religious faith. Thus, included scenography in his era as an adaptation of spatial nature and the exploitation of astronomy and the movement of the sun, to build his architecture, which decorated with drawings and lively scenes - whether religious or daily-life architecture - and to the design and implementation of fashion of this era for the people who lived in these places and their accessories and tools as well; preceding any civilization in the usage of the scenography before they started applying the idea on performing arts such as theater and cinema.