| | | Avec Claude Traunecker, "La tombe du prêtre Padiaménopé (TT 33) : éclairages nouveaux", BSFE 193-194, 2016, p. 52-83. Evocation of the grave which was built for Padiamenope on the western bank of Thebes (towards 650 before J.-C.), of the history of its discovery, and of the incredible accumulation of unique characteristics: innovative choice in the geographical orientation, architectural and scriptural structure which juxtaposes the periods, funerary texts deliberately put at the disposal of the scholars, similarities with the Osireion of Abydos. Last, revised versions of the Book of the Amduat and the Book of the Gates appear in the tomb of Padiamenope, including unparalleled « metatexts » or «... | | THE EGYPTIAN ROLE IN ULLAZA DURING THE SECOND MILLENNIUM B.C Ullaza was one of the important cities that appeared in the Egyptian sources. It had a strategic port. Thus, the Egyptians were keen on maintaining control over Ullaza, especially during the New Kingdom. It set up a garrison. Accordingly, it was the spearhead of the Egyptian campaigns. The strategic value of Ullaza resulted in the transmission of its dependence among the Egyptians, Mittani, Hittites, and the Amorites | | Choosing a Path to the Ancient World in a Modern Market: The Reality of Faculty Jobs in Archaeology Over the past 30 years, the number of US doctoral anthropology graduates has increased by about 70%, but there has not been a corresponding increase in the availability of new faculty positions. Consequently, doctoral degree-holding archaeologists face more competition than ever before when applying for faculty positions. Here we examine where US and Canadian anthropological archaeology faculty originate and where they ultimately end up teaching. Using data derived from the 2014–2015 AnthroGuide, we rank doctoral programs whose graduates in archaeology have been most successful in the... | | Tradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best... | | | Academia, 251 Kearny St., Suite 520, San Francisco, CA, 94108 | |
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