The 4.2 ka Event and the End of the Maltese “Temple Period”

The small size and relatively challenging environmental conditions of the semi-isolated Maltese archipelago mean that the area offers an important case study of societal change and human-environment interactions. Following an initial phase of Neolithic settlement, the “Temple Period” in Malta began ∼5.8 thousand years ago (ka), and came to a seemingly abrupt end ∼4.3 ka, and was followed by Bronze Age societies with radically different material culture. Various ideas concerning the reasons for the end of the Temple Period have been expressed. These range from climate change, to invasion, to social conflict resulting from the development of a powerful “priesthood.” Here, we explore the idea that the end of the Temple Period relates to the 4.2 ka event. The 4.2 ka event has been linked with several examples of significant societal change around the Mediterranean, such as the end of the Old Kingdom in Egypt, yet its character and relevance have been debated. The Maltese example offers a fascinating case study for understanding issues such as chronological uncertainty, disentangling cause and effect when several different processes are involved, and the role of abrupt environmental change in impacting human societies. Ultimately, it is suggested that the 4.2 ka event may have played a role in the end of the Temple Period, but that other factors seemingly played a large, and possibly predominant, role. As well as our chronological modelling indicating the decline of Temple Period society in the centuries before the 4.2 ka event, we highlight the possible significance of other factors such as a plague epidemic.

The Gebelein Archaeological Project in 2019: Northern necropolis and the temple complex

Continued archaeological surveys at two sites in the Gebelein area, the Northern Necropolis and the temple complex, have contributed new data for a better understanding of the ancient remains. Geophysical anomalies detected in 2015 in the western part of the Northern Necropolis should now be interpreted most probably as tombs with mud-brick walls. Mounds of earth in the central part of the necropolis yielded numerous artifacts dating from between the Naqada I and the early Old Kingdom periods; they are likely to have been dumped from a nearby settlement site, probably the ancient town of Sumenu. Work in the temple complex was aimed at protecting the structure made of inscribed mud-bricks dating from the Twenty-first Dynasty.

Une paratextualité émergente dans les tombes privées

In this paper, I investigate the speech captions (the so-called ‘Reden und Rufe’) in the private tombs from the Old Kingdom to the Late Period. I aim to show some of the ways used by the Egyptian scribes and/or artists to formally distinguish these speeches from other captions and inscriptions displayed in private tombs. After presenting the text- image interrelation and the most common speech caption layouts, I turn my attention to the form(s) of these captions and trace back the appearance of discursive marks in Old Kingdom mastaba as first evidence of paratextuality. I then offer a diachronic overview of the other paratextual means used to categorize a caption as a speech or a song: Dd-formulas, the parenthetic in indicating a direct quotation as well as the expression xn n wSb and xn n nhm.

Unique Lassoing Scene from the Mastaba of Akhmerutnisut at Giza (G 2184)

This article analyzes a unique scene from the Giza mastaba of Akhmerutnisut (G 2184), which shows a life-size depiction of the tomb owner holding a rope, ready to throw a lasso. The active participation of the tomb owner in a lassoing scene is unique in the iconographic program of Fifth Dynasty elite tombs. The location of this scene within the mastaba is also unparalleled: it is the first scene on the right (west side) encountered by visitors as they enter the mastaba. To understand this innovative decorative choice, this paper starts by discussing the iconography of lassoing in the Old Kingdom and its meaning in the elite tombs of the same period. The second part of this paper analyzes Akhmerutnisut’s lassoing scene with an analytical framework drawn from visual and material culture studies and focusing on the concepts of monumentality, identity and agency. This study provides a number of possible explanations—none of which are mutually exclusive—to understand why Akhmerutnisut had himself depicted as a monumental lassoer by the entrance of his funerary complex, highlighting the importance of visitor experience and participation in the design of the funerary complexes of the Old Kingdom elite.

Where Doves Lie

During recent excavations in the Dendara necropolis, skeletal evidence for at least eight complete turtle doves (Columbidae) was discovered in the burial chamber of a Dynasty 4 tomb. A large number of disarticulated tiny bird bones was found scattered beneath and around a broken Meydum-bowl, buried deep within piles of rubble. Zooarchaeological analysis indicated that at least eight birds had originally been buried. The fact that they were complete and found in a burial chamber in association with a Meydum-bowl suggested they were part of a funerary offering. The depiction of multiple bird species used as funerary offerings in the Old Kingdom tombs at Saqqara and Giza is well documented, indicating that birds were a significant element of the list of funerary offerings. Often the different species of birds were named in the tomb scenes, and frequently pigeons and doves were included. However, very little skeletal evidence exists in the archaeological record to support the theory that pigeons and doves were regularly used as funerary offerings. Therefore, the skeletal remains of eight complete turtle doves in conjunction with a Meydum-bowl found deep within a burial chamber of a provincial tomb adds impetus to the argument that not only they were a very desired component of Old Kingdom funerary offerings in the tombs of the important Saqqara and Giza necropolises, but also in the tombs of provincial officials.

The Palermo Stone and its Associated Fragments: New Discoveries on the Oldest Royal Annals of Ancient Egypt

Historical royal sources concerning Old Kingdom Egypt are rather scarce. One of the most important is a group of seven inscribed stone fragments also known as royal annals, the most famous of which is certainly the so-called Palermo Stone. These annals have been the subject of countless studies over more than a century since their initial discovery. However, the reading and interpretation of the hieroglyphic inscriptions engraved on them is still partial and often obscure. In recent years, however, the annals underwent a complete re-examination by means of the most up-to date technologies of 3D photographic documentation and reproduction – first of all, the so-called ‘Reflectance Transformation Imaging’ (RTI). In this article we will provide some insights on the new reading of selected parts of the fragments, especially the two major pieces: the Palermo Stone and the so-called ‘Cairo Fragment 1’.

Speaking of Mysteries: Atonement in Teenage Fantasy Books

<p>The question of how we can speak of a transcendent God and God’s relationship with creation has been pondered for millennia. Today particular difficulties arise when communicating Christian atonement theories to a generation for whom the world of the Bible is increasingly foreign, and in a time when theologians and philosophers are questioning both the violence of some atonement theories and the existence of “superior transcendence.” This study explores the presence of biblical motifs in the stories of atonement in young adult fantasy works. It suggests that the use of these motifs to make sense of atonement within fantasy worlds may assist readers to make sense of the same motifs when they are used to portray the Christian story of atonement. The investigation begins by discussing the place of imagination, reason and transcendence in religious language and argues for the centrality of metaphor and myth in religious expression. It suggests that young people today still seek intermediaries—“priests and prophets”—between themselves and the unknown, but they now find them in the fantasy authors who continue to use imaginative language to communicate transcendence. A central trope in contemporary fantasy fiction is that of a death that saves the world. Contrary to the expectations raised by René Girard’s work, these are not the violent deaths of a helpless scapegoat. The biblical mythologems incorporated in these works allow the authors to explore instead ideas of divine and human self-giving. This is demonstrated by tracing how mythological understandings of blood, victory and covenant in the Bible are incorporated into the atonement process of three fantasy series: the Old Kingdom Chronicles by Garth Nix (1995-2003), the Mortal Instruments trilogy by Cassandra Clare (2007-2009), and the Harry Potter series by J.K. Rowling (1997-2007). The thesis proposes that the presence of biblical mythologems in contemporary fantasy stories of atonement means that a better understanding of their use in each domain can both enrich our appreciation of this kind of literature and provide teenagers with an imaginative language with which to consider aspects of Christian atonement. The prevalence of atonement ideas within recent fantasy books suggests that, by attending to the mythologems of atonement drawn from the Bible, the church might both rediscover the imaginative power of her own story and convey it meaningfully to young readers of fantasy literature today.</p>