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In 1895–96, William Matthew Flinders Petrie and James Edward Quibell discovered a shaft-tomb below the ‘Ramesseum’, the funerary temple of Ramses II at Thebes, Egypt. This is most famous for having the largest group of Middle Kingdom papyri – also known as the Ramesseum Papyri – found in a single spot together with a number of distinctive objects, such as carved ivory tusks and miniature figurines in various materials dated around XVIII century BC. Gianluca Miniaci attempts to thoroughly reconstruct the archaeological context of the tomb: the exact find spot (forgotten afterwards its discovery), its architecture, the identity of its owner(s) and recipient(s) of the assemblage of artifacts. A detailed analysis of the single artifacts – provided for the first with full color photographic records and drawings – and their network of relations gives new life to the Ramesseum assemblage after more than a century from its discovery.
Rev. and enl. ed. of: The origins of Osiris. 1966. (Mèunchner èagyptologische Studien; 9)
This unique, comprehensive work tackles questions posed by the polemics of the Church Fathers against the Roman theater and explores the subsequent developments of Western liturgical drama as a continuation of the Roman theater up to the time of Amalarius of Metz in the ninth century.
The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. In The Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre’s origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is a sui generis kind of human creativity—a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche. Rozik’s broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought—a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children’s drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking.
This complete companion to the study of drama, theatre and performance studies is an essential reference point for students undertaking or preparing to undertake a course either at university or at drama school. Designed as a single reference resource, it introduces the main components of the subject, the key theories and thinkers, as well as vital study skills. Written by a highly regarded academic and practitioner with a wealth of expertise and experience in teaching, Mangan takes students from studio to stage, from lecture theatre to workshop, covering practice as well as theory and history. Reliable and comprehensive, this guide is invaluable throughout a degree or course at various levels. It is essential reading for undergraduate students of Drama, Theatre and Performance Studies at universities, drama schools and conservatoires, as well as AS and A Level students studying Drama and Theatre who are considering studying the subject at degree level.
A radical reinterpretation of the Pyramid Texts as shamanic mystical wisdom rather than funerary rituals • Reveals the mystical nature of Egyptian civilization denied by orthodox Egyptologists • Examines the similarity between the pharaoh’s afterlife voyage and shamanic journeying • Shows shamanism to be the foundation of the Egyptian mystical tradition To the Greek philosophers and other peoples of the ancient world, Egypt was regarded as the home of a profound mystical wisdom. While there are many today who still share that view, the consensus of most Egyptologists is that no evidence exists that Egypt possessed any mystical tradition whatsoever. Jeremy Naydler’s radical reinterpretation of the Pyramid Texts--the earliest body of religious literature to have survived from ancient Egypt--places these documents into the ritual context in which they belong. Until now, the Pyramid Texts have been viewed primarily as royal funerary texts that were used in the liturgy of the dead pharaoh or to aid him in his afterlife journey. This emphasis on funerary interpretation has served only to externalize what were actually experiences of the living, not the dead, king. In order to understand the character and significance of the extreme psychological states the pharaoh experienced--states often involving perilous encounters with alternate realities--we need to approach them as spiritual and religious phenomena that reveal the extraordinary possibilities of human consciousness. It is the shamanic spiritual tradition, argues Naydler, that is the undercurrent of the Pyramid Texts and that holds the key to understanding both the true nature of these experiences and the basis of ancient Egyptian mysticism.
"Human beings," the acclaimed Egyptologist Jan Assmann writes, "are the animals that have to live with the knowledge of their death, and culture is the world they create so they can live with that knowledge." In his new book, Assmann explores images of death and of death rites in ancient Egypt to provide startling new insights into the particular character of the civilization as a whole. Drawing on the unfamiliar genre of the death liturgy, he arrives at a remarkably comprehensive view of the religion of death in ancient Egypt. Assmann describes in detail nine different images of death: death as the body being torn apart, as social isolation, the notion of the court of the dead, the dead body, the mummy, the soul and ancestral spirit of the dead, death as separation and transition, as homecoming, and as secret. Death and Salvation in Ancient Egypt also includes a fascinating discussion of rites that reflect beliefs about death through language and ritual.
This volume presents the first comprehensive study of the Kushite concepts of order in the state and in the cosmos as they were conceptualized in royal and temple texts, in urban architecture, in the structure of temple iconography, and in the relationship between the society and the temples as places of popular worship, archives of historical memory, and centres of cultural identity.
Full of inspiration and practical advice, Playwriting: A Writers' & Artists' Companion is a comprehensive companion to writing for the stage. PART 1 includes reflections on the art and the craft of playwriting, guidance on writing for a full range of genres and spaces and a brief history of playwriting itself. PART 2 contains inspiring advice and reflections from leading playwrights:April De Angelis, Bryony Lavery, David Greig, Christina Reid, Dennis Kelly, Frank McGuinness, Lynn Nottage, Howard Brenton, Roy Williams, Tanika Gupta, Timberlake Wertenbaker, Polly Stenham, Tom Stoppard, Jack Thorne, Steve Waters, E.V. Crowe, David Henry Hwang, Lin Coghlan, Zinnie Harris and Anne Washburn. PART 3 offers practical exercises and advice on planning and conducting research, working out plots and characters, mastering authentic but accessible dialogue, navigating the industry and the rehearsal and production process.
Distinguished scholar and library systems innovator Frederick Kilgour tells a five-thousand-year story in this exciting work, a tale beginning with the invention of writing and concluding with the emerging electronic book. Calling on a lifetime of interest in the growth of information technology, Kilgour brings a fresh approach to the history of the book, emphasizing in rich, authoritative detail the successive technological advances that allowed the book to keep pace with ever-increasing needs for information. Borrowing a concept from evolutionary theory--the notion of punctuated equilibria--to structure his account, Kilgour investigates the book's three discrete historical forms--the clay tablet, papyrus roll, and codex--before turning to a fourth, still evolving form, the cyber book, a version promising swift electronic delivery of information in text, sound, and motion to anyone at any time. The clay tablet, initially employed as a content descriptor for sacks of grain, proved inadequate to the growing need for commercial and administrative records. Its successor the papyrus roll was itself succeeded by the codex, a format whose superior utility and information capacity led to sweeping changes in the management of accumulated knowledge, the pursuit of learning, and the promulgation of religion. Kilgour throughout considers closely both technological change and the role this change played in cultural transformation. His fascinating account of the modern book, from Gutenberg's invention of cast-type printing five hundred years ago to the arrival of books displayed on a computer screen, spotlights the inventors, engineers, and entrepreneurs who in creating the machinery of production and dissemination enabled the book to maintain its unique cultural power over time. Deft, provocative, and accessibly written, The Evolution of the Book will captivate book lovers as well as those interested in bibliographic history, the history of writing, and the history of technology.