6. Out of Egypt

Author(s):  
Christina Riggs

‘Out of Egypt’ considers how other cultures have engaged with ancient Egyptian art and architecture from the incorporation of Egypt in the Roman empire to the colonial era of Napoleon and beyond. Egyptian art became part of the classical heritage, but was also seen as strange and different. Did ancient Egypt deserve admiration or condemnation? Was it the source of Greek culture, as writers like Herodotus suggested, or was it part of darkest Africa or the exotic Orient (as later European thinking went) and thus nothing to do with ‘us’ at all? The legacy of ancient Egyptian art and architecture continues to shape contemporary relationships between the West, Africa, and the Arab world.

Author(s):  
Christina Riggs

‘Four little words’ analyses the meanings of ‘Ancient’, ‘Egyptian’, ‘art’, and ‘architecture’ in order to understand how Egyptian art and architecture are studied and discussed, why and how they have influenced the modern world, and whether iconic examples of Egyptian artworks and buildings are in any way representative of cultural norms and lived experience in the ancient past. When is ‘ancient’ Egypt? Where and what was ‘Egypt’ in antiquity and how did its people describe themselves and their land? Art and architecture are considered to comprise those objects made in such a way that their form and materials contribute to their representational power, social or symbolic significance, and aesthetic qualities.


2012 ◽  
Vol 20 (1-2) ◽  
pp. 28-35 ◽  
Author(s):  
Dusanka Dobanovacki ◽  
Ljiljana Milovanovic ◽  
Andjelka Slavkovic ◽  
Milanka Tatic ◽  
Skeledzija Miskovic ◽  
...  

Based on skeleton examination, cave-paintings and mummies the study of prehistoric medicine tells that the surgical experience dated with skull trepanning, male circumcision and warfare wound healing. In prehistoric tribes, medicine was a mixture of magic, herbal remedy, and superstitious beliefs practiced by witch doctors. The practice of surgery was first recorded in clay tablets discovered in ancient rests of Mesopotamia, translation of which has nowadays been published in Diagnoses in Assyrian and Babylonian Medicine. Some simple surgical procedures were performed like puncture and drainage, scraping and wound treatment. The liability of physicians who performed surgery was noted in a collection of legal decisions made by Hammurabi about the principles of relationship between doctors and patients. Other ancient cultures had also had surgical knowledge including India, China and countries in the Middle East. The part of ancient Indian ayurvedic system of medicine devoted to surgery Sushruta Samhita is a systematized experience of ancient surgical practice, recorded by Sushruta in 500 B.C.E. Ancient Indian surgeons were highly skilled and familiar with a lot of surgical procedures and had pioneered plastic surgery. In the ancient Egyptian Empire medicine and surgery developed mostly in temples: priests were also doctors or surgeons, well specialized and educated. The Edwin Smith Papyrus, the world?s oldest surviving surgical text, was written in the 17th century B.C.E., probably based on material from a thousand years earlier. This papyrus is actually a textbook on trauma surgery, and describes anatomical observation and examination, diagnosis, treatment, and prognosis of numerous injuries in detail. Excavated mummies reveal some of the surgical procedures performed in the ancient Egypt: excision of the tumors, puncture and drainage pus abscesses, dentistry, amputation and even skull trepanation, always followed by magic and spiritual procedures. Various types of instruments were innovated, in the beginning made of stone and bronze, later of iron. Under the Egyptian influence, surgery was developed in ancient Greece and in Roman Empire. Prosperity of surgery was mostly due to practice in treating numerous battlefield injuries. Records from the pre-Hippocrates period are poor, but after him, according to many writings, medicine and surgery became a science, medical schools were formed all over the Mediterranean, and surgeons were well-trained professionals. Ancient surgery closed a chapter when Roman Empire declined, standing-by up to the 18th century when restoration of the whole medicine began.


Author(s):  
Florian Ebeling

The history of reception of ancient Egypt deals with the perceptions and images of ancient Egypt in the West that emerged without direct access to ancient Egyptian sources, especially without proper knowledge of the hieroglyphs. It deals with texts, images and art as part of the history of ideas and with material culture as well. It is not about the question of whether these images and concepts correspond to the historical realities in ancient Egypt, but about the question of the way in which ancient Egypt was referred to, and about the relevance of this concept in the history of the West.


2021 ◽  
Vol 29 (3) ◽  
pp. 567-574
Author(s):  
Inna V. Andronova ◽  
Mama Dembele

The first ever integration bloc in Africa was formed back in the colonial era in 1910, when a number of British colonies were integrated. Modern integration processes in the African countries in the south of the Sahara began much later, from the early 1960s, when most of the former colonies gained independence, and it was during this period that the construction of a number of economic blocks began. The article reveals integration processes in West Africa and sub-Saharan African countries features. Integration as such is viewed as a complex procedure, with the success way which depends on many factors. On the experience of the Republic of Mali, the authors demonstrated how an irrational socio-economic policy can lead to deformation of integration processes, which inevitably threatens with deep financial and socio-political crises.


2021 ◽  
pp. 92-106
Author(s):  
John Parker

This chapter reviews the most visible material manifestation of funerary culture on the Gold Coast and in its forest hinterland before the twentieth century: commemorative terracotta sculptures of the dead. The chapter notes that the Akan and their neighbours were parsimonious when it came to artistic engagement with the dead. Unlike in many societies, from ancient Egypt to medieval Christian Europe and on to modern Mexico, death in Ghana has not left a powerful visual residue. Even within West Africa, the Akan region is notable for the absence of art that served to mediate with ancestors and the spirit world: in contrast to cultural zones to the west, north and east, it had, for example, no masking tradition. The chapter looks at the role of the terracottas within the wider Akan funerary complex. It focuses on the evocative sculptures, but the aim, in the spirit of Sir Thomas Browne's reflections on ancient British burial urns, is that they illuminate something of that broader history of death.


2018 ◽  
Vol 14 (10) ◽  
pp. 102
Author(s):  
Waleed Mohamed Saffaie

The current study seeks to analyze some themes and ornaments that appeared on metal pots in the west of Arab Gulf (Mleiha in the United Arab Emirates and Al- Fueda in the Sultana of Oman). The study also makes a comparison between the metal pots of previous regions and their counterparts in Mesopotamia and Ancient Egypt. The Arab Gulf is of great importance because it represents an important center for commercial convoys and associates with ancient civilizations in Mesopotamia, ancient Egypt and other civilizations. The Arab Gulf produced a varied and splendid art with artistic output. On the other hand, Mesopotamia transferred the ancient Egyptian artistic influences to the Arab Gulf. The study highlights the two regions of Mlieha and Al- Fueda in the west of the Arab Gulf, Mesopotamia and Ancient Egypt. Also, it shows the artistic influences on these pots. To describe and analyze such metal pots, the study adopts the descriptive analytical approach. The researcher has faced several difficulties, which are: 1) Finding a few of inscribed metal pots led to the difficulty of the local comparison where some sites did not reveal a rich metal product. 2) The scarcity of references and books specialized in metal arts in the Arab library. 3) Numerous metal sculpture works have been lost due to re- using and re- shaping these metals again. The study has reached many conclusions, the most important of which are: 1) The pots and plates were decorated with splendid inscriptions and ornaments, and their themes were quoted from neighboring countries. 2) The Study has noted that some metal inscriptions represented the pure local environment of the art at the time. Also, some of them were affected by the arts of neighboring civilizations in Mesopotamia, Syria and ancient Egypt.


This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.


2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life


Author(s):  
Daniel King

Much of the Western intellectual tradition’s interest in pain can be traced back to Greek material. This book investigates one theme in the interest in physical pain in Greek culture under the Roman Empire. Traditional accounts of pain in the Roman Empire have either focused on philosophical or medical theories of pain or on Christian notions of ‘suffering’; and fascination with the pained body has often been assumed to be a characteristic of Christian society, rather than ancient culture in general. The book uses ideas from medical anthropology, as well as contemporary philosophical discussions and cultural theory, to help unpack the complex engagement with pain in the ancient world. It argues, centrally, that pain was approached as a type of embodied experience, in which ideas about the body’s physiology, its representation, and communication, as well as its emotional and cognitive impact on those who felt pain and others around them, were important aspects of what it meant to be in pain. The formulation of this sense of pain experience is examined across a range of important areas of Imperial Greek culture, including rational medicine, rhetoric, and literature, as well as ancient art criticism. What is common across these disparate areas of cultural activity is the notion that pain must be understood within its broad personal, social, and emotional context.


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