Ancient Egyptian Literature

This research book by Hira Ansari explores the forgotten connections between the Andes of Peru, Gog and Magog (Yajuj and Majuj), Zulqarnain’s western journeys, and ancient treasure maps preserved in global traditions. Drawing upon the Qur’an, the Bible, the Book of Enoch, and Egyptian mythology, the study argues that the Andes — known historically as the “Navel of the Earth” and the “Land of Four Quarters” — hold the key to one of the greatest unsolved mysteries of human history.

The book presents evidence that the sealed barrier of Zulqarnain described in the Qur’an corresponds with the sacred mountains of Machu Picchu and Cusco, where ancient civilizations may have confined the nations of giants. Egyptian portraits of Geb and Nut are reinterpreted as symbolic maps pointing to the Andes, while the sarcophagus lid of King Pakal is shown to align with the Machu Picchu landscape and the hidden chamber beneath. These findings suggest that the so-called Lost City of Atlantis may, in fact, have been an underground city beneath the Andes — sealed after the great flood and remembered in myth as the realm of giants and titans.

By bridging archaeology, scripture, and myth, this study uncovers the possibility that the treasures of Pharaohs, the rituals of the Inca sun worshippers, and the imprisonment of Gog and Magog are interconnected events rooted in a single geographical and spiritual center: the Andes.

This work contributes to global debates on the origins of civilization, the historical memory of Atlantis, and the interplay between sacred texts and archaeological landscapes. It proposes a unifying theory that not only decodes hidden maps but also sheds light on the mysteries of Dhul-Qarnain, Gog and Magog, and humanity’s ancient struggle with giants and divine punishment.

Eine wiedergefundene und jüngst mutwillig zerstörte stelophore Statue des Wesirs Paser. Zu Sonnenhymnik und Verklärungstexten, in: GM 158, 2019, 151-160
[Die veröffentlichten Artikel geben nicht immer die Meinung der Redaktion wieder. Kein Teil des Buches darf in irgendeiner Form (Druck, Fotokopie, CD-ROM, DVD, Internet oder einem anderen Verfahren) ohne schriftliche Genehmigung des Verlages der Göttinger Miszellen reproduziert werden oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden.]

This article examines the long, intricately layered encounter between Hellenism and Judaism, using the emblematic theme “Sparta and Jerusalem” to trace how cultural kinship was imagined, articulated, and politically mobilised from the Hellenistic period to late antiquity. It outlines the Greek narrative ethos that invited the “other” into dialogue, then follows the steady Hellenisation of Jewish life after Alexander: the adoption of Greek as a lingua franca, the Septuagint’s interpretative choices, and the philosophical synthesis in Philo of Alexandria. Far from a simple clash, the Maccabean episode is reframed as an intra-Jewish contest within a Hellenistic milieu, while epistolary exchanges between Judaean leaders and Spartan authorities—together with mytho-genealogical claims linking Abraham and Heracles—are read as diplomatic strategies of prestige and alliance. The study shows how Jewish authors writing in Greek positioned their tradition alongside Stoic, Pythagorean, and Platonic thought, and how rabbinic and philosophical practices converged methodologically. It concludes that deep, bidirectional influence strengthened rather than diluted Jewish religious identity, enabling its continuity in diaspora conditions. The closing reflections connect this historical synthesis to modern Greek-Jewish experience, honouring resilience, contribution, and the prospect of a renewed Judaic Hellenism in contemporary civic and cultural life.

Το δοκίμιο «Ο Άνθρωπος μεταξύ Πιθήκου και Εικόνας Θεού» εξετάζει τη σύνθεση επιστήμης και θεολογίας για την ανθρώπινη φύση. Ανιχνεύει την εξέλιξη του ανθρώπου μέσα από τη βιολογία, φιλοσοφία και Πατερική σοφία, υποστηρίζοντας ότι ο άνθρωπος είναι ταυτόχρονα προϊόν φυσικής εξέλιξης και φορέας της θείας εικόνας. Η εργασία αναδεικνύει πώς η βιολογική του υπόσταση δεν αναιρεί αλλά συμπληρώνει την πνευματική του κλήση, προσφέροντας μια ολοκληρωμένη αντίληψη της ανθρώπινης ύπαρξης ως «ζωο-θεϊκή».

Disasters are unplanned events that are either natural, technical, or human-induced. They disrupt daily life in human communities and create physical, economic, and social losses for civilizations. Many ancient cultures perceived the disasters that befell them as warnings from the gods and thought that natural disasters were caused by the divinities. Despite the great differences between the worldviews of the ancient societies and the historical changes they underwent, all definitions of relation shared a fundamental structure and function and they were all personalized. This also applies to catastrophes that were justified by a god's purpose or design. Natural catastrophes have been referred to as "natural evils" in theology and philosophy, as opposed to "moral evils," since they do not involve human decision-making. Unlike the modern world, ancient people attributed all natural phenomena to gods and superhuman beings. Lacking science and technology, ancient societies believed that natural disasters such as earthquakes and floods were sent by angry gods as punishment. However, the further back in time the inquiry goes, the more descriptions of catastrophes like floods and earthquakes that have been incorporated into myths and religions are found. In light of ancient recorded sources, the study's objective is to highlight the concept that gods' anger caused natural calamities.

The Ancient Greek verb αἱρέω is more than a common lexical item; it is a linguistic nexus that embodies a core tension within Hellenic thought: the dichotomy between external compulsion and internal volition. Its very structure, marked by irregularity and a profound semantic split between its active and middle voices, reflects a deep-seated cultural preoccupation with the nature of action, consequence, and agency. The entire diachronic journey of this verb-from its composite etymological roots and morphological peculiarities to its eventual semantic bifurcation-is mirrored and ultimately dramatized in the mythological figure of Helen of Troy, the woman whose story is defined by the question of whether she was taken or she chose. This report argues that the suppletive morphology and the active/middle voice distinction of αἱρέω/αἱρέομαι provide the most precise linguistic framework for analyzing the evolution of Greek ideas about agency. Furthermore, the literary treatments of Helen of Troy, from the complex psychology of Homer's Iliad to the radical revisionism of Euripides' Helen, represent a conscious, philosophical engagement with the verb's semantic duality. The central question of whether Helen was taken (the object of active αἱρέω) or chose (the subject of middle αἱρέομαι) is not merely a narrative problem but a reflection of the verb's fundamental grammatical and semantic structure. To demonstrate this, the report will first conduct a rigorous linguistic analysis of αἱρέω, examining its etymology and complex morphology. It will then proceed to a diachronic survey of its semantic development, tracing its meanings from the Archaic period through the Classical and Hellenistic eras. Finally, this linguistic foundation will be applied as a critical lens to the literary and mythological tradition surrounding Helen of Troy, culminating in an analysis of how her portrayal serves as the ultimate crucible for the verb's dual potential and the cultural questions it represents.

The topic of this paper deals with a study of one of the phenomena of verbal participation in the ancient Egyptian language. It focuses on the contronyms or auto-antoym, enantiosemy, and its meaning in the language. The study will deal with the word that bears a meaning and its opposite; then, identify the contextual meaning for these words from the different texts. Furthermore, identifying the word, its contronyms and its different written forms. Finally, the researcher will support the examined topic with evidence and inferences from the texts.

Στο κείμενο επιχειρείται να αναπτυχθεί μια εφαρμοσμένη προσέγγιση της έννοιας του φετιχισμού, μέσω ανάλυσης μιας ενδεικτικής θεωρίας για τον μεταπανδημικό κόσμο, μέσα από μια αρνητικά διαλεκτική και υλιστικά κριτική προοπτική. Ο φετιχισμός, ως μια ολόκληρη διαδικασία που παράγεται και ανακινείται από εμάς, μέσω της καθημερινής αυτο-ανταγωνιστικά οργανωμένης μας πρακτικής ή εργασίας, σχετίζεται με το γεγονός ότι οι ποικίλες έννοιες και κατηγορίες δεν εξαντλούνται, ως προς το περιεχόμενό τους, στη μορφή που σήμερα λαμβάνουν. Με όρους κριτικής θεωρίας, η αρνητική διαλεκτική μας επιτρέπει να εντοπίσουμε το ανθρώπινο, ιστορικο-κοινωνικό περιεχόμενο των μορφών-φετίχ, που συνίσταται στη διαρκή και ακατάπαυστη πάλη μεταξύ πραγματικής και αφηρημένης εργασίας.

O papiro Hermitage 1115 contém uma das composições literárias mais completas do período faraônico. O texto apresenta a narrativa sobre um marinheiro que naufraga em uma ilha fantástica e, depois de retornar ao Egito, tem a oportunidade de contar sua história na sua velhice. Neste artigo, trazemos uma tradução comentada do Conto do Náufrago, com o texto hieroglífico, a transliteração e sua contextualização histórica atualizada sobre a geopolítica egípcia durante o Reino Médio (c. 2055-1650 AEC). Um glossário egípcio-português conclui a obra. papiro Hermitage -egípcio clássico -literatura egípcia -fronteira -Punt. 1 Artigo não publicado em plataforma preprint. Todas as fontes e a bibliografia são referenciadas no texto. Tradução e notas por Ronaldo Gurgel Pereira; introdução de Thais Rocha da Silva e Ronaldo Gurgel Pereira. 2 Investigador contratado (DL57/2016/CP1453/CT0023) na FCSH-

Theban tomb no. 84 was originally built for Iamunedjeh, first royal herald under the reign of Thutmose III, but already one generation later, it was appropriated by Mery, high priest of Amun under Amenhotep II and owner of TT 95. The change in the tomb owner’s identity is reflected in the inscriptions of TT 84: Iamunedjeh’s and his wife’s names and titles were often substituted by Mery’s and his mother’s. The decoration of the tomb reveals a complex picture with several stages and patterns of intervention. This paper, which was originally published in English in the Bulletin de l’Institut Français d’Archéologie Orientale in 2024, gives an overview of the different scenarios and investigates the rationale behind their distribution in the given spatial context. With the help of a detailed analysis of the available epigraphic data, the study aims at bringing us closer to some of the intentions and priorities of the actors who—as either decision makers or executors—were involved in the process of adapting the textual program of the tomb to its new owner’s identity.

The monograph offers the first comprehensive art historical analysis of the painted decoration of Middle Kingdom wooden box coffins from Beni Hassan. No fewer than 900 tombs were excavated in the Lower Necropolis in the early 1900s by John Garstang (University of Liverpool), and they still contained extensive burial equipment, including wooden box-shaped coffins. Careful study of published and archival material in the course of the project Painted for Eternity (University of Vienna) has revealed that more than 260 coffins (over 220 of them with decoration) must have been found. At least 81 coffins (or fragments thereof) have been located in museums worldwide and a further 32 decorated coffins were identified on the excavation photographs. For the first time, these coffins are presented in a catalogue, thoroughly examined as for their layout and the iconography of the decorative elements, set into context and published along with the excavation photographs, drawings and high-quality images in colour. The study reveals the existence of a well-established local tradition and important phenomena such as the use of templates, prefabrication and reuse. An overall analysis of the Beni Hassan coffin decoration is in preparation and will be included in the second volume of the study.

A survey of the numerous ancient Egyptian inscriptions pertaining to the enigmatic "Sea Peoples" tribes and their Libyan and Phoenician allies, and to the great battles in which they were defeated, as well as an attempt to come closer to a resolution of the century-old questions regarding their ethnic identity, their origins and the purpose of their repeated attacks.

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Table of Contents



Introduction – with a consideration of the identity of the “Sea Peoples” 4
Including a response to Dr. Eric H. Cline (p. 8 ff.), a deliberation on the date of the “Exodus”, a consideration of the implications of the circumcised status of the warriors of at least three of the five tribes making up the first “Sea Peoples” wave (p. 10), an analysis of Herodotus’ testimony on the topic of circumcision (p. 14 ff.), and remarks on what the nature of the “Bronze Age Collapse” can tell us (p. 19 ff.).

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The Building Inscription – a Celebration of Sacred Architecture 20
The inscription on the front side of the monolith that would later become known as the “Merneptah” or “Israel” stela; a more suitable name for that monolith would therefore be the Amenhotep III Sacred Architecture Stela
Commissioned by King Amenhotep III (Amenhotep the Great), who reigned from 1390–1353*

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The Quadricentennial of the Founding of the City of Tanis Inscription 26
A text celebrating the founding of the “Hyksos” sister city of Avaris, and honoring the deity Seth, who is depicted on the stela into which it was carved as wearing the garb of the “Asiatics” (the Setyu or Amu; the “Proto-Israelites”, or a section of them)
Revealingly, no mention is made of the “Hyksos” or Amu themselves at all
Commissioned by King Horemheb, who reigned from 1319–1292*

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The Inscription on the “Marriage Stela” 29
The affirmation of a great alliance between Egypt and the Indo-European people of Hatti (the “Hittites”), motivated by the grave danger posed by the “Sea Peoples” to both of these illustrious civilizations; a celebration of the glorious marital union between King Ramesses II of a united Egypt and a royal princess from Hatti
Commissioned by King Ramesses II, who reigned from 1279–1213*, in c. 1245 B.C.*

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King Merneptah’s “Hymn of Victory” (The “Israel Stela”) 34
A celebration of the crucial victories over the Rebu or “Libyans”, their “Sea Peoples” allies and various states and ethnic entities in Retjenu (Canaan/Palestine/the Levant)
One of five commemorative inscriptions (c.f. page 8 for an enumeration of these) commissioned by King Merneptah, who reigned from 1279–1213*, in c. 1208 B.C.*

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The Four Triumphal Inscriptions of King Ramesses III at “Medinet Habu” 44
Commemorating the destruction of the second wave of the so-called Sea Peoples, and hinting at the deployment of a “secret weapon” (a kind of “Greek Fire”?)
Found in the remains of the Mortuary Temple or Cenotaph of Ramesses III
Commissioned by King Ramesses III, who reigned from 1187–1157*, in c. 1179 B.C.*

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Bibliography and further reading 54

Είναι ο άνθρωπος κύριος της μοίρας του ή η πορεία της ζωής του εκπληρώνει ένα προδιαγεγραμμένο και αναπόδραστο πεπρωμένο; Ποια είναι η δύναμη και το όριο της ανθρώπινης γνώσης απέναντι στη θεϊκή; Γνωρίζει ο άνθρωπος ποιος πραγματικά είναι; Τελικά, ποιο είναι το όριο ανάμεσα στον άνθρωπο και τον θεό;

El príncipe predestinado por la astrología: tradición y fortuna de un motivo literario y folclórico


This article examines the literary and folkloric motif of the predestined prince, whose destiny is foretold by divine or astrological powers, and traces its development from Ancient Egypt to the medieval Castilian tradition. Beginning with the Egyptian tale of the “Doomed Prince,” preserved in the Harris Papyrus, the study explores the structural parallels and transformations of this narrative in Barlaam and Josaphat and Sendebar. Through comparative analysis, the paper highlights recurring narrative patterns: the king’s longing for an heir, the prophetic announcement of a tragic fate, the prince’s isolation in a palace, and his inevitable confrontation with destiny. Variations in the role of deities, astrologers, and narrative outcomes are discussed as reflections of cultural and religious contexts. The article concludes by situating the motif within both monogenetic and polygenetic interpretative frameworks, arguing for its Egyptian origins while acknowledging its universal appeal. Ultimately, the study demonstrates how this tale type functioned as a vehicle of moral instruction, adapting across civilizations while preserving its core symbolic tension between fate and human agency

NEAES Conference 2025, International Conference, University of Durham (programme)

Bereavement scenes in New Kingdom iconography are oftentimes composed of grieving people performing gestures strictly related to the public expression of mourning. According to Psychology and Anthropology – two disciplines that claim that grief is a condition common to humankind and, consequently, can be considered atemporal – poses and body gestures that are linked to the communal sphere of bereavement are employed by mourners to better deal with the death of a beloved person. Both intimate grief and public mourning, in fact, are pivotal for survivors to adjust and heal after a loss, because, whether the former is crucial for people to work through their feelings, the latter allow mourners to somehow distribute the burden of grief and share their pain. Moreover, the support of the community turns out to be fundamental when addressing identity-related issues. In fact, as claimed by Psychology and Anthropology, human beings are the result of social interactions, which are necessarily perturbed after the loss of a member of the community. Numerous gestures related to the public expression of mourning in New Kingdom iconography are highly connected to the mourners’ identity, and this contribution aims to present some examples of these symbolic physical poses, which might have had a psychological urge at their origin

International scholars from more than ten countries from across the globe are gathering in person in Aberdeen on 12-13 September to converse on intellectual approaches to race, ethnicity, and knowledge production in the Arabo-Islamic ‘Golden Age’ that go beyond Eurocentric – or indeed Occidocentric – and Arabocentric perspectives. The wide range of conversations will include such topics as premodern multilingualism, Classical Arabic poetry, Arabic Judaism and Arabic Christianity, the Ottoman literary canon, Arabic Large Language Models, or current media debates on decolonisation. The full programme is available here (design version) and here (accessible version). Please note that all times are listed according to British Summer Time.

This interdisciplinary gathering is held as the International Workshop of the Arab-German Young Academy of Sciences and Humanities (AGYA), which is jointly based at the Berlin-Brandenburg Academy of Sciences and Humanities (Germany) and the Academy of Scientific Research & Technology (Egypt).

The workshop is co-organised by the ERC-SIQILLIYA project at the Università degli Studi di Padova, and it is hosted by the School of Divinity, History, Philosophy and Art History in cooperation with the Interdisciplinary Institute (Social Inclusion and Cultural Diversity Challenge) at the University of Aberdeen.

The AGYA organisers are Dr Hany Rashwan (United Arab Emirates University, UAE) and Professor Florian Zemmin (Freie Universität Berlin, Germany). The co-organisers are Professor Nile Green (University of California, Los Angeles), Professor Nicola Carpentieri (Università degli Studi di Padova), and Dr Jakub Zbrzezny as the host co-organiser from the University of Aberdeen (DHPA – Divinity Department).

Pethnos, PAT’s new research-art project

How do we face the multitude of losses and the rhetoric of despair, the multitude of disasters and crises that surround us locally and internationally? Ecological disasters, new war fronts, domestic ‘tragedies’ such as the Tempi, the retreat of social justice, and public goods and rights, as in the case of the dismantling of the public university, the rise of racism, femicide and teenage violence, and the emergence of multiple reactionary voices are all shaping an environment of despair. How can we manage loss and grief to turn it into “joyful militancy”? Can we politicise our grief emancipatorily as an alternative to the conservative turn? Can militancy go hand in hand with care?

Pethnos, PAT’s new program explores the post-loss phase, the nature of loss, the processes, stages, mechanisms of mourning at a collective level associated with the narratives, constructions and subjects of a nation, a people, a community, a group, the effects and changes it brings about, the memorial activities observed, the public history that is constructed and the role of art and mediation in these processes. The experience of art as “joyful militancy” suggests ways to manage the very pressing current events from which we cannot take off our gaze. It is now abundantly clear that disaster, not progress, is not only what we face in the future but is already here. The present is not about our biological time on earth but about historical time that extends beyond our own personal boundaries. This is our challenge today, understanding the present not as the “issue(s)” conveyed by the media but of the imperative to become militant subjects in the here and now and the transformative role of art and its tools.

Pethnos, like all PAT’s programs, will unfold through a series of formulations, actions, publications, live events, etc. It is dynamically linked to our previous program, Waste/d. The programs and the material (theoretical, artistic, curatorial) that emerge from them, create a rhizome that grows around the critical issues of our times, that are at the core of our interests, in which PAT’s practice proposes some kinds of intervention.

The first step, following the preparatory act, a performance organized by PAT, (“Joyful militancy Live” at the exhibition “outraged by pleasure” curated by N. Argyropoulou and organized by the Municipality of Chalandri), is a series of meetings – discussions with invited theorists and artists from diverse fields whose work is connected in various ways with issues of history and mourning. The discussions resulted in farasi.zine #3, which PAT edited after an invitation by the chief editors (Phoebe Giannisi, Iris Lykourioti, Fani Paraforou). The publication provides material for the subsequent activities of Pethnos.

On June 13th 2025, Temporary Academy of Arts (PAT) returns to ISET to present though a live event farasi.zine#3, the zine of the Department of Architecture and Engineering of the University of Thessaly, named “Pethnos: a research artistic program by PAT or the third generation that mourns, suicides”, as part of ARTWORKS Partners.

Participating artists: Thodoris Chiotis, Phoebe Giannisi, Katerina Komianou, Valia Papastamou, Chara Stergiou.

The program “ΑΝΤΙ-passive/pathetic lectures: PAT Pethnos Live @ ΙΣΕΤ” is made possible with the support of the Department of Architecture, University of Thessaly and the Stavros Niarchos Foundation (SNF)

Gramática Básica de Egípcio Médio, elaborada por Pedro Hugo Canto Núñez para acompanhamento do “Curso de Hieróglifos: aprendendo e praticando o Egípcio Médio (Nível I)”, realizado na Universidade Federal do Rio Grande do Norte, no ano de 2025, ministrado por Pedro Hugo Canto Núñez. Esse primeiro nível da Gramática está dividido em oito partes: uma introdução aos hieróglifos, explicando os passos da Egiptologia na tradução, quais tipos de escrita temos e como lidamos com as organizações espaciais dos antigos egípcios atualmente; os substantivos; os adjetivos; as preposições; os pronomes, subdivididos em duas partes, pois o conteúdo em sala de aula é maçante e cansativo; os advérbios; e, por fim, os numerais. Além disso, temos dois apêndices nessa gramática: um caderno de caligrafia; e uma Lista de Gardiner. Assim, o que está aqui presente são os elementos básicos para qualquer aspirante a egiptóloga ou egiptólogo e, dessa forma, esperamos que, com a linguagem didática, os exemplos de fontes reais e os exercícios interconectados possam servir como base e estímulo para a pesquisa em Egiptologia no Brasil.

The geographic dispersal of specific body-parts from the corpse of a slain deity, mythic man-beast or Dreaming Ancestor is a trope common to ancient Egyptian, medieval Irish and present-day Indigenous Australian mythology, respectively. This paper presents examples from each of these three domains, and uses the selected narratives – none of which have hitherto been juxtaposed – to explore the ways in which mythic anatomy can be re-imagined as religious or cultural geography and mapped onto the land. In Egypt, the god Osiris is murdered and dismembered by his brother Seth, who hides the numerous body-parts in different locations throughout the Two Lands. In Ireland, the main epic of the Ulster Cycle – the Táin Bó Cuailnge – ends with the Brown Bull of Cooley killing the White-Horned Bull of Ai and scattering the latter's horns, bones and innards in different locations on his journey homeward. The Djabugandji people of the Barron River region in Northern Queensland have a prominent Dreaming in which the Ancestral carpet-snake Buda-dji is chopped into many pieces by three envious bird-men, who throw the segments in all four directions; they become landforms which range from the coast to the Tablelands. For each culture, such narratives serve to connect and unite disparate settlements and/or sub-populations; indeed, the Queensland songline crosses a language boundary, as does a supplementary example from the Australian Central/Western Desert. The mythic entity's body-parts – which tend to proliferate over time, accompanied by an expansion in the myth's geographic footprint – are often reflected in local toponyms, although sometimes only via belated folk etymologies. The intercultural comparison presented here spans three continents and four millennia, suggesting that the trope enjoys near-ubiquitous distribution; the scattered corporeal relics of Christian saints may constitute a historical extension of the same impulse. Overall, the trope probably represents a local reflex of the widespread cosmogonic paradigm in which a primordial being is sacrificed and its body-parts are used to create the world.

A través de este manual, los autores han pretendido proporcionar una base de conocimientos para comprender cómo surge y se desarrolla el arte en el mundo antiguo en el ámbito geográfico de Egipto y Próximo Oriente, que pueden considerarse como el germen del arte occidental, y cuyo legado es patente en el arte clásico.

The paper examines the tradition of illustrations to Spell 17 of the Book of the Dead during the Ramesside era. In this period of development of the iconographic tradition of the Book of the Dead the composition of the pictorial frieze of Spell 17 was formed. This spell, which is one of the longest and most significant in the collection and goes back to Spell 335 of the Coffin Texts, contains a theological and mythological text, structured as an exegetical essay. During the 18th dynasty, Spell 17 was illustrated only sporadically. However, a “revolution” occurred in the post-Amarna period, from which the papyrus of Nakht (P. London BM EA 10473) is the earliest to have a pictorial frieze of Spell 17 vignettes. According to the Bonn Totenbuchprojekt database, 84 sources with the texts of Spell 17 have survived from the Ramesside Period, of which 53 have vignettes. Despite their superficial similarity, the frieze of vignettes of Spell 17 varies significantly in its iconographic details, as Egyptologists have noted in their studies. The paper aims to examine the vignettes of Spell 17 of the Book of the Dead after the papyrus of Ani (P. London BM EA 10470), dating to the 19th dynasty. The interconnection of vignettes with the text of the spell is also considered.

The paper discusses the reception of Egyptian motifs in Greek mythography based on three case studies: Herodotus' Histories, Diodorus Siculus' Library of History and Plato's Phaedrus. It is argued that all of these works contain elements that find their parallels in either Late Egyptian or Demotic texts. The content of these was made accessible to the Greek authors either through written translations or oral conversations with Egyptian priests. As a result, it is argued that the idea that naming Egyptian priests as a source of knowledge by the classical authors should not be automatically interpreted as a mere topos, since this might actually reflect historical reality, at least in some instances.

Taterka Filip, Wątki egipskie w greckich opowieściach mitycznych (Egyptian Motifs in Greek Mythic Tales). The paper discusses the reception of Egyptian motifs in Greek mythography based on three case studies: Herodotus' Histories, Diodorus Siculus' Library of History and Plato's Phaedrus. It is argued that all of these works contain elements that find their parallels in either Late Egyptian or Demotic texts. The content of these was made accessible to the Greek authors either through written translations or oral conversations with Egyptian priests. As a result, it is argued that the idea that naming Egyptian priests as a source of knowledge by the classical authors should not be automatically interpreted as a mere topos, since this might actually reflect historical reality, at least in some instances.

The title M23-G39&N5 has been interpreted as an erroneous spelling of either zꜣ-njswt or zꜣ-rꜥw, or as a title for a designated coregent (zꜣ-njswt/rꜥw). In this contribution, the known attestations of this title are collected and a new reading as njswt zꜣ-rꜥw (and M23-G39&N5-A21A as njswt zꜣ-rꜥw-sms.w) is proposed. Among the title bearers is the famous king named nḥs.j, who is differentiated from another title bearer with a similar yet distinctive name nḥ.jj. For this purpose, different spellings of the name nḥs.j and a comparison with the name nḥ.jj are presented.

O papiro Hermitage 1115 contém uma das composições literárias mais completas do período faraônico. O texto apresenta a narrativa sobre um marinheiro que naufraga em uma ilha fantástica e, depois de retornar ao Egito, tem a oportunidade de contar sua história na sua velhice. Neste artigo, trazemos uma tradução comentada do Conto do Náufrago, com o texto hieroglífico, a transliteração e sua contextualização histórica atualizada sobre a geopolítica egípcia durante o Reino Médio (c. 2055-1650 AEC). Um glossário egípcio-português conclui a obra. papiro Hermitage -egípcio clássico -literatura egípcia -fronteira -Punt. 1 Artigo não publicado em plataforma preprint. Todas as fontes e a bibliografia são referenciadas no texto. Tradução e notas por Ronaldo Gurgel Pereira; introdução de Thais Rocha da Silva e Ronaldo Gurgel Pereira. 2 Investigador contratado (DL57/2016/CP1453/CT0023) na FCSH-

The Amduat underwent a significant, yet largely overlooked, transformation during the Third Intermediate Period. While New Kingdom and Late Period versions have been the subject of extensive scholarly attention, Amduat papyri from the 21st and 22nd Dynasties remain largely unpublished and interpreted through outdated typological frameworks. This paper presents new evidence that reshapes our understanding of Theban Amduat papyri. Drawing on a growing corpus of unpublished material, it identifies multiple production ateliers, reveals the presence of complex scribal practices, and maps the most recurrent iconotextual configurations. The proposed case studies elucidate not only the heterogeneousness of Amduat papyri in form and content, but also the deliberate strategies of transmission and innovation employed by Theban intellectual circles. This process was both conservative and creative, altering the function of Amduat manuscripts and engaging in what might be termed a process of curated continuity in which the cosmographic repertoire was simultaneously preserved and reimagined with specific funerary and ritual character. By tracing the diachronic and synchronic trajectory of these features, the paper exposes continuity and adaptation in Amduat papyri during the Third Intermediate Period. In doing so, it repositions Amduat papyri as critical witnesses to cultural production and vitality of funerary literature in post-New Kingdom Thebes. Far from marking a decline, Amduat papyri emerge as sources of religious innovation and ritual agency, reflecting the construction and display of élite funerary identity.

Marija Rudzinskaitė-Arcimavičienė (1885–1941) was the first Lithuanian Egyptologist. She published numerous articles and books in Lithuanian, spreading the knowledge of ancient Egypt on a scale never seen before in Lithuania. As a modern, independent woman, M. Rudzinskaitė-Arcimavičienė led a challenging life, dedicating herself to the study of ancient Egypt. As a historian and Egyptologist, she was also very interested in the role of women in the ancient world. Her 31-page booklet, "The Status of Woman in Ancient Egypt", written in 1932, is probably the earliest publication in book form on this subject. In the first part of the work, she provides a general overview and her ideas about the role of women in ancient Egyptian society. In the second part, she presents Hatshepsut and her reign.
The paper discusses the M. Rudzinskaitė-Arcimavičienė's perspective on the subject, the sources and literature that she used to write her booklet, and the parallels and comparisons that she draws between ancient Egypt and later, even modern, history. Although scientifically of little importance and now in many cases outdated, the ideas presented in this short book reflect her own academic interests and the state of research at the time.

According to conventional Western wisdom, the modern novel was “invented” in 18th-century England with works like Defoe’s Robinson Crusoe. Yet a remarkably similar literary phenomenon involving works of adventurous prose fiction that are now increasingly agreed to constitute novels (or novellas) flourished long before this across national, ethnical, religious, and linguistic borders in the ancient Mediterranean world. The scholarly exploration of this literary world has advanced much in recent decades, ever since a consensus took shape within classics in the 20th century, that, not Robinson Crusoe, but the much earlier shipwrecked heroes of Roman-period Greek prose adventures starting in the mid-1st century CE can lay claim to the status of “first novel.” This re-centering soon found itself in need of defense against the dawning realization that novel-like literature had already been produced in the “Orient” by Jews and Egyptians for several centuries. Egypt in particular, where Egyptian, Jewish, and probably also Greek novels were composed, has even been claimed to have provided the essential inspiration for the Greek novel in general, thus threatening to further re-center the phenomenon on the banks of the Nile. Far from claiming one place or one native literature as the single source whence all novels ultimately sprang, we assume that a “novelistic impulse” (Lawrence Wills) can assert itself in different times and places under favorable historical conditions, and if two or more meet each other, they can begin to influence each other, though the manner and direction of influence is often debatable.

The many roles played by Egypt as the great crucible in this important branch of world literature (as well as Egypt as a favorite topic/setting in Greek novels, whether or not this be due to Egyptian influence on/provenance of the work) thus far lack a concentrated effort by an interdisciplinary group of scholars from Egyptology (especially Demotic studies), Classics, Biblical and early Christian studies, even Coptology, given the underappreciated legacy of the ancient novel in Coptic literature. Thus, the purpose of our conference is to bring together just such a group of scholars in order to achieve a clearer understanding of the complex ways in which different cultural, ethnic, and religious groups (Egyptians, Greeks, Jews, Christians) coexisting in Egypt from ca. the 4th century BCE to the 7th century CE produced novelistic prose literature, often influencing each other (including ties, of course, that extend beyond Egypt) while Egypt passed from Persian to Greek, from Greek to (East) Roman, from Roman to Persian and back to Roman, and finally to Islamic rule. The “novels” (or “novellas” for equivalent but shorter and less sprawling works) to be examined include, of course, the famous Greek novels of love and adventure (in particular the “Big Five” by Chariton, Xenophon, Longus, Achilles Tatius, and Heliodorus). Yet we consider it crucial to adopt a far more inclusive perspective that considers all manner of “historical novels” in the sense of lengthy works of prose fiction that, in addition to their clear entertaining nature and social commentary, often serve as propagandistic reports of the legendary feats and the righteous suffering of national or culture heroes – like Ninus for the descendants of the Babylonians, Alexander for the Greeks, Sesostris/Sesonchosis for the Egyptians, Moses for the Jews, and the Apostles (beginning with the shipwrecked Paul) for the Christians.

The importance of the Gilgamesh epic is that, along with other Uruk written sources, it describes what measures Enmerkar and his successor, Gilgamesh, needed to take to protect the city. Why did they want to surround Uruk with a wall? It was necessary, or would have been necessary, to defend the vast Uruk enclave networkwhich even included Egypt-against a long series of attacks similar to those of the Sea Peoples or the Great Migration. The secession of Egypt, the wine trade, and trade in general fell into new hands. The native Zagrosian merchants who supplied the gods and god-kings with fruit wine were wiped out, their place taken by Phoenicians, but even Tyre later required a wall as a precaution; so great must have been the trauma.

The mysterious sacred writings of ancient Egypt are now and for the first time  revealed in papyri of the Turin Egyptian museum. A preliminary translation of the discovered texts, dated to the Ramesside period, is provided with some insights of their nature.

Στὸ Γ΄ τεύχος τοῦ βιβλίου ΠΗ Γλῴώσσα μου τὴς ΣΤ΄ τάξης Δημοτικού περιλαμβάνεται ἐγας κύκλος ἐνοτήτων, ποῦ ἔχει ὡς θέμα τοῦ τις κατακτήσεις τῆς τεχνικῆς, τοὺς κινδύνους ποῦν ἐγχυμονεί ἡ κακή χρήσῃ τῆς καὶ κάποια απὸ τὰ κοινωνικά προβλήματα ποῦ ἔχει δημιουργήσει. ΤῸ θέμα εἰναι εξαιρετικά επίκαιροῖ Ἀπό αὐτό ἐκκινούν καὶ σ' αὐτό διασταυρώνονται θεμελιώδεις παραδοχές μαι προσανατολισμοί νιὰ τὸ σύγχρονο ἄνθρωπο! Πρόκειται γιὰ θέμα ὑψηλῆς παιδευτικής σημασίας! ὡς πρῶτο μάθημα στον κύκλο αὐτό προτάσσεται ἕνα από τὰ περιφημότερὰ χορικά τῆς ἀρχαίας τραγωδίας; τὸ χοριμό τοῦ πρώτου στάσιμου τῆς ἀντιγόνης τοῦ Σοφοχλή! Ἐπιλογή, πράγματι, εξαιρετινὴ! Ὀμῶς, σρισμένα σφάλματα τῶν συνταχκτών τοι σχολικοῦύ ἐγχειριδίου, σε συνδυασμό μξ μια μεταφραστικῆ ἀνεπάρπεια, ἐπιρέρουν ριζιυκὴ αλλοίωση τῶν ἀπόψεων ποῦ ἐκφράζει ὁ τραγιχός μὰς ποιητής! Ἐπί σειρά ετών ὁ ἀνθρωπολογιιός στοχασμός τοῦ -Ὁὁ ἐν πολλοὶς ἀντιπροσῳπευτιμός τῆς γλασιριής ᾿Αθήνας (Δημάρατος, 1975: 23}--διδάσπεται στοὺς μαθητές μὰς τοῦ Δημοτικού σημαντικά παραποιημένος, Θὰ ἦταν σοβαρό διδαμτιμκό ατόπημα κάτι τέτοιο νὰ ἐεπαναληφθεί καὶ στὰ νέα βιβλία τοῦ Δημοτιμοῦ! Στὰ πλαίσια τούτης τῆς ἐργασίας επιχειρείται νὰ τεκμηριθοῦν οἱ πὸραπάνῳ ισχυρισμοί, νὰ καταδειχθεί ἡ σημασία τοὺς καὶ νὰ σποκατασταθξὶ ἢ σκέψη τοῦ Σοφοκλὴ στις πραγματικὲς τῆς διαστάσεις καὶ προσπτιμές, Ιδού τὸ χορικό, όπως περιλαμβάνεται στὰ βιβλία τῶν μαθητῶν τῆς ΣΤ' Δημοτιχού: «Του μόσμοι ἀπό τὰ Πάματα δὲν εἶναι τίποτ᾽ ἀλλο ποῦ να ναι σὰν τὸν ἀνῆρωπο περήφανο, μεγάλο, ΣῈ φουσκωμένα κύματα, σὲ θάλασσα αφρισμένη, Παιδαγωγι Ἐπιθεώρηση, 4 ΠΣ ἢ 4Π καντεγνεία τοῦ! ἀνθούπου» στὸ βιβλίο «Η λῴσσα μὸν» τὴς Στ᾿ Ἰημοτιποι 41 αὐτός ξέρει και μπαίνει --καὶ φύσαγε νοτιά! Καὶ τὴ θεὰ τὴν υὑπέρτατη, τῇ γὴη τὴ φαρδιοπλάτα, ποῦ ἀκούραστα τὰ χαίρεται, τ᾽ ἀθάνατά τῆς νιάτα, ζεύει στ᾿ ἀλέτρι τ᾽ ἄλογα καὶ τὴν περικυμλώνει, βαθιά τήνε πληγώνει καὶ την καταπονά. Πιάνει πουλιά γοργόψτερα, βουνίσια ἀγρίμια πιάνει" τὰ ψάρια από τῇ θάλασσα αὐτός μὲ δίχτυι βγάνει. Αὐτός τον ταύρο τ᾽ ἀλογο ξέρει νὰ μεταπείσει, τη λευτεριά ν᾿ αφήσει καὶ στὸ ζυγό νὰ μπει. Αὐτός καὶ γλώσσα ἔμαθε, και σπίτια νὰ σμεπάζει: καὶ νόμους ἐστερέωσε καὶ φρόνημα σπουδάζει. Με χίλμιους τρόπους ἔρχεται καὶ χίλιους τρόπους ξέρει, καὶ μόνο δὲ θὰ φέρει θανάτου αποφυνγὴ!» (Η Γλώσσα μοι, τ. Τ΄ σελ, 7, 8. μετ. Κα. Μάνου) Στὸ Βιβλίο του Δασκάλον (ΒτΔ} τὸ κείμενο προσφέρεται και σε δεύτερη μετάφραση. Σ΄ αὐτῇ οἱ δύο πρῶτοι στίχοι, ποὺ ἔχουν ἰδιαίτερη σημασία, σποδίδοντοι ὡς εξής: «Εἶναι, πολλά τὰ θαυμαστά, μα τίποτα ὧεν εἰναι, πιο θαυμαστό ἀπ᾽ τὸν ἀνθρῶπο» (σελ. 110, μετ. Δ. Σάρρου), Τα σφάλματα ποῦ Ἀαμβάνουν χώρα κατά τῇ διαπραγμάτευση τοῦ εν Ἀόγὼ χορικού είναι τὰ ἀκόλουθα τρία: α) Ενώ τὸ χορικό ἀποτελείται ἀπό τέσσέρις στροφές συνολικά, στὰ σχολικά ἐγχειρίδια καθώς καὶ στὸ Βτὰ παρατίθενται μόνο οἱ τρεις πρώτες! Γιὰ τὴν ὑπάαρξη τῆς τέταρτης στροφῆς δὲν γίνεται καμία ἀπολύτως ἀναφορά! Συμβαίνει, ὁμῶς, αὐτή νὰ ἀποτελεί τὸ νοηματικό πιρῆς νὰ ὄλου τοῦ! χοροῦ! «ΤῸ νόημά τοῖ! -στὴν οὐσία τὸ νόημα όλης της Αντιγόνῃς--βρίσκεται στην κατάληξῇ τοῦ (364-375) ποῦ τὸ συνδέξι μὲ τις ὑψφιστες σημασίες που διακυβεύονται μέσα σ᾽ αὐτὴ τὴν τραγοωδίαν, λέει ο Κα. Καστοριάδης (1903, σελ, 23), Τὸ ἰδιο τονίζει καὶ ὁ ( Μ. Βονντα: «Τὰ τρία πρώτα μέρη αποτελούν μόνὸ πρόλογο στὸ τέταρτο μέρος (...} Η οὐσία τοῦ χοριμού βρίσκεται στὸ ἐμφατιιό συμπέρασμά του» (1003, σελ. 38}. «ἔτο χορικό αὐτό», λέει ὁ ΑἸΙΡΙΠ [Ἔεκν, «πρέπει νὰ ἀαἀναγνωρίσουμε τὸ ηθυκοθβρησκευτικό πλαίσιο ὁποὺ τοποθετούνται τὰ δραματικ γεγονότα» (1987. σελ, 343]. Τὸ ηθικοθρησκευτικό πλαίσιο προβάλλεται μόνο στην κομμένη τέταρτη στροφή! Τὴν παραθέτω αμολούθως, σὲ μετάφραση τοῦ Κώστα Γεωργουσό-ΠΟΠΑΟΊΣ Παιδαγωγιεῆ Επεεθεῴοηση, ΗΖ ΠΘ6

El presente artículo procura esbozar algunas reflexiones sobre las conceptualizaciones que se han realizado sobre la literatura del período ramésida, a partir de un recorrido por las interpretaciones de las que ha sido objeto el relato de Los Dos Hermanos, puesto por escrito en el Papiro d’Orbiney por el escriba Inena, durante la dinastía XIX. Se trata de un trabajo que conjugará una revisión historiográfica de las primeras publicaciones dedicadas al estudio de este texto, con aproximaciones más recientes que, de acuerdo con nuestra percepción, manifiestan algunas continuidades. Nos dedicaremos a problematizar algunas de las categorías de análisis propuestas, mediante la deconstrucción de términos y el establecimiento de relaciones con las fuentes a las que remiten.This paper deals with some reflections on the concepts that have been applied by Egyptologists to the literary texts written during the Ramesside period. I will deconstruct some of the categories and terminology used by 1...

Los textos literarios egipcios son parte de un universo más amplio de creaciones culturales y se relacionan con ellas en diferentes modos. Uno de los cruces que resulta de mayor interés es aquél que se produce con el orden de lo mítico: la relación entre mito y literatura es una que ha generado, de hecho, diversas discusiones entre los egiptólogos. En el relato ramésida de Los Dos Hermanos, el uso de nombres con determinativos divinos para los protagonistas, evocando nombres de dioses, habilitó la consideración de la historia como basada en un mito. Esta idea resultó fortalecida por la narración de diferentes situaciones con reminiscencias de relatos míticos, como son el renacimiento de Bata, sus transformaciones y sus vínculos con la fertilidad. La participación de otros dioses en la trama también se ha interpretado en este sentido, por lo que se vuelve evidente que algo de este plano se traduce e imbrica en el texto literario.En este trabajo analizaremos las formas específicas en ...

Los textos literarios egipcios son parte de un universo mas amplio de creaciones culturales y se relacionan con ellas en diferentes modos. Uno de los cruces que resulta de mayor interes es aquel que se produce con el orden de lo mitico: la relacion entre mito y literatura es una que ha generado, de hecho, diversas discusiones entre los egiptologos. En el relato ramesida de Los Dos Hermanos, el uso de nombres con determinativos divinos para los protagonistas, evocando nombres de dioses, habilito la consideracion de la historia como basada en un mito. Esta idea resulto fortalecida por la narracion de diferentes situaciones con reminiscencias de relatos miticos, como son el renacimiento de Bata, sus transformaciones y sus vinculos con la fertilidad. La participacion de otros dioses en la trama tambien se ha interpretado en este sentido, por lo que se vuelve evidente que algo de este plano se traduce e imbrica en el texto literario. En este trabajo analizaremos las formas especificas en...

El objetivo de este trabajo consiste en explorar las bases de la realeza faraónica, analizando las características y funciones que asume el faraón y los modos establecidos de acceso al trono. Las imágenes proporcionadas por el discurso y las representaciones formalizadas del rey serán puestas en tensión con la experiencia provista por un relato literario: el cuento de Los Dos Hermanos, que constituye un caso interesante para relexionar sobre las irregularidades y sus formas de legitimación y acomodación en los marcos preestablecidos. La relación entre realeza y literatura será otro de los aspectos a discutir en este trabajo.

The twenty-fourth Current Research in Egyptology conference was organised by researchers from five UK universities, and was held at the University of Liverpool between 2–6 September 2024. This international event was attended by almost 200 participants, with a dynamic programme of 115 paper presentations and 17 poster presentations, highlighting the breadth of research by early career researchers in Egyptology and related fields. The present volume gathers 23 selected papers from the conference, reflecting the breadth of work presented at the meeting. Individual papers include discussion of material culture, society and religion, reception studies, findings from archaeological excavations, and methodological issues, bringing together a wide range of research in Predynastic, Pharaonic, and Graeco-Roman Egyptology.

The components of the title Nswt–Bjtj are not equivalent. They are different in essence. Nswt is undoubtedly the King, while the meaning of Bjtj must be sought in the office assigned to the Egyptian ruler – nb tA.wj, "Lord of the Two Lands" (see the opposition: the Sun is nTr aA nbw p.t , "the Great God, Lord of the Sky", and the King is nb tA.wj, "Lord of the Two Lands"). Therefore, the title Nswt– Bjtj should be translated as "King and Lord of Egypt!"

The conference brings together scholars to examine the Book of Amduat, a central funerary composition transmitted for more than a millennium across tomb walls, coffins, sarcophagi, and papyri. While rich and significant, much of this material remains unpublished or insufficiently studied, particularly from the Third Intermediate, Late, and Ptolemaic Periods. Even the better-known New Kingdom versions raise important questions that call for renewed analysis and discussion.