| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "MESOPOTAMIAN EGYPTIAN ART": |
|
|
Mesopotamian and Egyptian Art, 2007.
This paper compares and contrasts the art and architecture of Mesopotamia and Egypt.
801 words (approx. 3.2 pages), 2 sources, MLA, AU$ 41.95
»
Click here to show/hide summary
Abstract
The paper discusses how the art and architecture of both Mesopotamia and Egypt are similarly drawn from their environment, geographical characteristics, climate and natural resources. The paper explains how Mesopotamians benefited from their natural wealth, while the Egyptians focused on their classic achievement, the pyramids. The paper notes that basic differences include the subjugated expressions of Mesopotamian art and architecture on account of their subjugation to other peoples, who envied their natural resources. On the other hand, the paper shows how Egyptian art and architecture document their uniqueness in every feature of the tombs, reliefs and statutes they built for their kings.
From the Paper
""Mesopotamia" is the Greek word for "between the rivers" and refers to that region between the Tigris and the Euphrates Rivers, presently occupied by Iraq, Turkley and Syria (Delahunt 2006). The region was occupied in ancient times by many groups, including the Sumerians, Akkadians, Assyrians, Amorites, Kassites, Persians, Greeks, and Chaldeans. They passed their powers on to the Arabs, who now occupy current-day Mesopotamia. There is little rainfall in this region and access to the two rivers has been difficult. People in the region have built dams and grew food in the rich soil. They built
canals in order to distribute scanty water, an activity, which united them. They also invented the plough to raise their cattle and sheep."
| |
|
Conventions of Mesopotamian Art, 2005.
An exploration of the conventions of Mesopotamian Art through an examination of four distinct Mesopotamian pieces, including the mediums of relief, stele and painting.
1,219 words (approx. 4.9 pages), 1 source, MLA, AU$ 60.95
»
Click here to show/hide summary
Abstract
This paper traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.
From the Paper
"Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."
| |
|
Art Analysis, 2005.
A comparison of art and human depiction in Greek and Roman society, versus Egyptian and Mesopotamian society.
675 words (approx. 2.7 pages), 0 sources, AU$ 38.95
»
Click here to show/hide summary
Abstract
The paper reviews a few noteworthy pieces of art that brilliantly highlight the differences between Greek and Roman society especially, Greek society, and Egyptian and Mesopotamian society. The paper particularly looks at the way that the human figure is depicted in art works from the different areas.
From the Paper
"Glorification of the Individual, Glorification of the Gods and Society: the Artistic Differences between Greek/Roman and Egyptian/Mesopotamian Art The Greek (and later Roman) approach to art may be defined as classical or realist in nature. By comparison, the Ancient Egyptian The precise lineaments of Standing Goddess, probably Artemis, also reveal the classical preoccupation with the human form. However, it is Portrait of a Ruler (a work possibly crafted by Elagabalus) which really underscores the profound difference between Classical and Egyptian artwork. To wit, the anthropomorphic rendering of the body is not only anatomically correct, but built perfectly to scale. Everything, from the fingers of the upraised right hand to the slight protuberance on the right side of the model where the hipbone juts out ever so slightly, reveals a remarkable attention to the human form."
| |
|
Ancient Writing, 2002.
A look at Mesopotamian cuneiform and Egyptian hieroglyphs
900 words (approx. 3.6 pages), 6 sources, AU$ 51.95
»
Click here to show/hide summary
Abstract
This paper examines Mesopotamian cuneiform and Egyptian hieroglyphs. The two earliest known types of writing are compared and contrasted in terms of origin and development, and usage.
| |
|
"Sinuhe the Egyptian", 2007.
This paper examines the story of "Sinuhe the Egyptian", as a work of ancient Egyptian literature.
1,300 words (approx. 5.2 pages), 3 sources, MLA, AU$ 62.95
»
Click here to show/hide summary
Abstract
In this paper, the writer maintains that to read "Sinuhe the Egyptian" as solely a piece of political propaganda would significantly underestimate the narrative qualities of the tale and the maturity of ancient Egyptian literature. The writer notes that Miroslav Barta, an Egyptologist, claims that the text serves primarily as political propaganda, idealizing Egyptian society and especially its monarchy. The writer maintains that the lengthy poetic interlude at the point in the story at which Sinuhe meets the Syrian King for the first time does suggest an idealistic attitude toward the Egyptian theocracy. However, the writer notes that other scholars point out that Sinuhe demonstrates literary prowess; its ending comes as a surprise but only when read within a modern framework and corresponding biases. The writer concludes that rather than being propaganda, "Sinuhe the Egyptian" is more clearly an epic literary journey.
From the Paper
"In the first case, Sinuhe naturally waxes poetic about the ruler from whom he fled; he never once suggests that he doubts the divinity of the pharaoh's office. His fear of civil strife stems not from a disregard for the court but from personal cowardice (Lorton). Furthermore, he praises the new king so as to not appear weak and pitiable in the eyes of the Syrian King who discovered him. His positive attitude engenders favor, causing the Syrian King to trust him immediately and give him his daughter's hand in marriage as well as scores of wealth and land. If the Syrian King suspected that Sinuhe were a disloyal subject it is unlikely he would have offered such kind service."
| |
|
Egyptian and Sumerian Views on Death and Afterlife, 2002.
A discussion of differences in views on death and afterlife.
885 words (approx. 3.5 pages), 2 sources, AU$ 45.95
»
Click here to show/hide summary
Abstract
This paper compares cultural attitudes on death and afterlife with focus on the Mesopotamian views about death in relation to their respective material culture.
From the paper:
"There were many ways that the Ancient Egyptian society and the Mesopotamian society were similar yet at the same time they were very different. Egyptians and Sumerians agreed on religion in a sense that both cultures were polytheistic. However, the relationships between the gods and goddesses were different between the Sumerians and Egyptians."
| |
|
Egyptian and Greek Architecture.
This paper compares the temple architecture of Egyptians with the Greeks and explores the differences in structure, art, symbolism, and function.
1,235 words (approx. 4.9 pages), 4 sources, APA, AU$ 61.95
»
Click here to show/hide summary
Abstract
This paper explains that architecture is more than the design of buildings because it incorporates the thought of the person building the structure; the architecture of Egyptian and Greek temples differs in function, structure, and symbolism. The author points out that Egyptian temple architecture is much larger than the Greeks because the geographical location was abundant with resources and building materials, such as limestone, and the Egyptians maintained a highly organized society capable of carrying out such large constructions. The paper explains that another main difference between the Egyptian and the Greek temples is that architects, not priests, directed the design of the Greek temple, which distinguished the Greek temples from those of the Egyptians because they made conscious choices in design for aesthetic reasons, not just function.
Table of Contents
Introduction
Architectural Structure
Function
Architectural Art and Symbolism
From the Paper
"The earliest Greek temples were small and gradually became larger and grander. The first temples were similar to small huts and were long and narrow. These early temples were about 25 by 18 feet and were built using stone and unbaked mud brick. As the wealth of the Greek people grew and the geographical locations became more abundant with resources, temples began to take a much more sophisticated style. "There was a compelling need, given the dominant role of the gods in society, to pay at least some benefits thus received to them.""
| |
|
Egyptian Souls, 2002.
A discussion of Ancient Egyptian concepts of the soul and the Messianic message of the Cruxshadows? "Angel Cycle".
1,949 words (approx. 7.8 pages), 10 sources, MLA, AU$ 90.95
»
Click here to show/hide summary
Abstract
This paper examines how Egyptian mystics were the first to conceptualize a coherent theory of the human soul and how remarkably, their theories also bear many striking resemblances to modern theories of the conscious and subconscious. It shows how being both ancient and relevant, it is no surprise that Egyptian mythologies and theoretical constructs have had a great influence on many artists. It looks at how among artworks bearing an obvious debt to Egyptian theories of the Soul are those of the founder of the Cruxshadows, an American-based artist who is wildly successful in Germany. It evaluates how despite the fact that Egyptian soul theories have influenced the entire course of modern thought, particularly in their influence on Greek and Hebrew thought, they remain immensely confusing to modern researchers.
From the Paper
"The Cruxshadows are an independent musical group primarily consisting of an artist named Rogue and his accompanying musicians. (Incidentally, ?Rogue? is the only name by which the artist in question is known, having used it exclusively since early childhood.) In America they are not particularly well known, due to the highly academic nature of some of their work, however they have reached super-star status in much of Europe, particularly in Germany and Austria. Much of Rogue?s work deals with mythological and classical tradition applied to futuristic concepts, and he is particularly concerned with Egyptian mythology and history. According to the Book of Cruxshadows (an independent organization devoted in part to the scholarly study of ?Cruxshadowian? lore), the entirety of Rogue?s available work deals with a single over-arching story called the Angel Cycle."
| |
|
Materials and Technologies used for the Development of Egyptian Art, 2002.
This essay investigates how the natural materials and technologies available at the time influenced the development of Egyptian art.
2,959 words (approx. 11.8 pages), 14 sources, APA, AU$ 126.95
»
Click here to show/hide summary
Abstract
This essay investigates whether the natural materials and technology available influenced the development of Egyptian art. The essay argues that the wealth of natural materials Egypt had in its possession provided the Egyptians with access to a range of mediums with which they could develop art. An argument is put forward that the technology and techniques used by the Egyptians greatly influenced and contributed to the development of Egyptian art. This essay begins by looking at the earliest materials and technologies that were used during the prehistoric period followed by an examination of how these materials and techniques developed over time. Evidence is provided throughout the essay to support these arguments.
From the Paper
"Pottery was also one of the earliest forms of artwork in Egypt dating back to the Prehistoric Neolithic and Predynastic Periods. In 1985 Sir Flinders Petrie discovered a variety of Predynastic pottery vessels ranging from Badarian handmade vessels to decorated pottery from the Naqada Period that showed evidence of ?exquisite craftsmanship? (Romer 1982:38). The natural materials that allowed for the creation of such pottery included Nile river silt clay, limestone and clayey shale from the cliffs (Romer 1982:45). The early technology used to produce pottery included polishing the pottery with a pebble to give a burnished red or black appearance before being fired in a kiln (Shaw & Nicholson 1995:226). Other
decorative characteristics included rippled lines that were produced by running another natural material, fish bones over the wet clay (Hart 1995:30)). Improvements in ceramic technology and the introduction of the potter?s wheel allowed an increase in the range of shapes that could be produced (Quirke & Spencer 1992:178). However J. Romer (1982:70) states that the use of the potter?s wheel led to a decline in the quality of Egyptian pottery. He argues that the potter?s wheel, although allowing larger vessels to be made quickly and easily from clay, ultimately led to pottery becoming more utilitarian and of less artistic quality. Therefore although the standard of art declined, this is still evidence of how the technology available influenced the development of Egyptian art."
| |
|
Greek, Norse and Egyptian Gods, 2002.
This paper discusses the similarities and differences between the Greek, Norse and Egyptian Pantheons --- gods and goddesses.
1,160 words (approx. 4.6 pages), 4 sources, MLA, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper examines the ?father-creator? God, a ?trickster? God, and a ?love? Goddess of Greek, Norse and Egyptian cultures. The author believes that the ?father-creator? Gods have the most in common: Greek God, Zeus, the Norse God Odin and the Egyptian God Amen-Re. The paper introduces the ?trickster Gods?: Norse God Loki, the Egyptian God Seth, and the Greek God Prometheus. The paper also describes the ?love goddesses?: Egyptian Goddess Hathor, Greek Goddess Aphrodite and Norse Goddess Freya.
From the Paper
"The myths of these gods also referred to the sky. Both Zeus and Odin had palaces high above the mortal world, known as Mt. Olympus and Asgard. These palaces served as meeting places for the gods, and as observation decks. Zeus is often depicted as looking down from Mt. Olympus into the mortal world. Odin also gazed at mortals and gods similarly, from Hlidskialf, his throne in Asgard. Though he did not have a palace in the sky, Amen-Re was referred to as the ?Sun? god. "
| |
|
Ancient Egyptians and the Afterlife, 2004.
An overview of the ancient Egyptians belief in the afterlife.
1,940 words (approx. 7.8 pages), 5 sources, MLA, AU$ 88.95
»
Click here to show/hide summary
Abstract
This paper examines how the ancient Egyptian civilization, which lasted for millennia and had a considerably advanced cultural and artistic heritage, left scholars with detailed artistic depictions, monumental archaeological remains, and written records of its societal functions and processes of the government, commerce, and daily life of its people. It briefly assays some key tenets of Egyptian religion and society and then explores the way in which the ancient Egyptians thought of the afterlife as an extension and modification of their lives on earth. The mummification process is covered, as are the other complicated and exacting funerary rites of this venerable culture as applied to both the ruling class and the working class of ancient Egyptian society and the ways in which they thought of the afterlife.
From the Paper
"As was stated, Egyptian tombs contained quotidian items from the person?s life that were of value to them, as it was assumed that as the person continued into the afterlife, they would continue to utilize these items. A person?s clothing and occupational tools would often be included in the tomb, along with writing materials. Sometimes, to save cost and space, models of actual items were used to represent them in
their stead, as they were seen to be transformed in the afterlife into their real equivalencies. Even food was provided in the tomb: offerings of food were also made after the person?s death. It seems odd from the present cultural perspective to think of the afterlife in terms of eating actual food, but it must be kept in mind that the Egyptians did not as drastically polarize life and afterlife in the same way that those of the current Western tradition tend to."
| |
|
Egyptian and Mayan Writing, 2004.
This paper discusses the history of Egyptian and Mayan writing.
1,740 words (approx. 7.0 pages), 18 sources, MLA, AU$ 81.95
»
Click here to show/hide summary
Abstract
This paper explains that the Egyptian language is one of the first languages to be put into written form by using hieroglyphics, a system that used symbolic pictures. The author points out that the ancient writing systems of Mesoamerica can be traced back to the cliff paintings by North American Indians in the desert Southwest. These are known as petroglyphs because they are written on stone. The paper relates that the Mayan languages were lost due to the European invasions, and early Egyptian writing was absorbed into Coptic and replaced by Arabic.
Table of Contents
Egyptian Writing
Mesoamerica (MAYA)
Development of scripts. Egyptian
Development of Scripts. Mayan
Why Are Those Two Written Languages Not in Use Anymore?
Conclusion
From the Paper
"Recently, Egyptian writing dating to 3,300 B.C. has been discovered. A German archaeologist has claimed that he has found what could be the earliest known human writing - records of linen and oil deliveries made about 5,300 years ago during the reign of a King named Scorpion in Southern Egypt. The discovery throws open for debate a widely held belief among historians that the first people to write were the Sumerians of the Mesopotamian civilization sometime before 3,000 B.C.."
| |
|
Brazilian and Egyptian Music, 2001.
An analyisis of the similarities and differences between traditional Brazilian and Egyptian music.
1,137 words (approx. 4.5 pages), 6 sources, MLA, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper compares Brazilian and Egyptian music. A brief history of the two cultures illustrates the development of their music. The paper outlines the primarily European influence on Egyptian music, and the African and European influences on Brazilian music. The Portugeuse influences on early Brazilian music is also discussed. The paper contrasts Brazilian and Egyptian music through their use of instruments, theory, and artists. A brief overview of the development of modern Egyptian and Brazilian music is presented in the paper.
From the Paper
"Traditional Brazilian and Egyptian culture date back centuries, even millennia when considering Egypt?s rich past. Many aspects of their cultures such as dress, language, and government have changed and evolved from their genesis. Two major elements of both these cultures that have been a major part of life are the music and dance. Yet, despite their deep native roots, Brazilian and Egyptian music and dance have been greatly influenced by European and African cultures, thereby creating the blend of today?s modern styles."
| |
|
An Analysis of the "Egyptian Book of the Dead", 2003.
An analysis of the "Book of the Dead" and its implications for Egyptian concepts of sin and morality.
1,659 words (approx. 6.6 pages), 1 source, MLA, AU$ 77.95
»
Click here to show/hide summary
Abstract
The ancient Egyptians were much concerned about their afterlife, and this concern is reflected in many inscriptions and texts found in their pyramids and coffins. The "Book of the Dead" served to outline the difficulties that awaited them after death and provided them with some practical information to help them along the way. This paper provides a comprehensive overview of the Egyptian "Book of the Dead" and its purposes, the practice of magic, the moral and ethical beliefs that are reflected in its writings, a discussion of the importance of the Code of Ma?at, and ancient Egyptian concepts of the human soul. An examination of how various ancient Egyptian concepts of sin and morality are reflected in the "Book of the Dead" is followed by a summary of the research in the conclusion.
From the Paper
"According to S. G. F. Brandon (1970), ?It became the custom in ancient Egypt from about the 18th Dynasty (1580-1320 BC) to place in the tombs of the dead papyrus scrolls inscribed with texts. These texts were designed to help the dead to rise to life again and obtain a happy lot in the next world? (305). The name Book of the Dead is a contemporary one that has been assigned by Egyptologists, beginning with Karl Richard Lepsius, a German Egyptologist who published the first collection of the texts in 1842. Brandon points out that the ancient Egyptian title was ?Chapters for Coming Forth by Day.? This title was intended to describe what the Book of the Dead texts would do for the dead, according to Egyptian belief. Many of the texts can be traced to two earlier collections of funerary texts, the Pyramid Texts and the Coffin Texts."
| |
|
The Ka in Egyptian Funerary Art, 2002.
An analysis of the Egyptian view of death, through funerary art.
1,169 words (approx. 4.7 pages), 3 sources, APA, AU$ 58.95
»
Click here to show/hide summary
Abstract
This paper focuses on the theme of Egyptian funerary art, illustrating its purpose to link the living world with the after life. The paper describes the Ka, the central life force which sustains one and which needs to be taken care of after death. The wall art and the statues found in Egyptian tombs provides knowledge of the Egyptian religious beliefs.
From the Paper
"Religion attempts to answer several basic questions: who are we, where did we come from, and where are we going. Nothing serves a better example of man?s attempt to answer these questions than Egyptian funerary art. The theme of Egyptian art is not to portray the living, except to provide guidance for the dead, but was meant to help link the living world with the after life."
| |
|
ESL Instruction in Egyptian and British, 2006.
This paper is a complete research project to compare the effectiveness of English as a second language instruction (ESL)in Egyptian and British secondary schools.
16,370 words (approx. 65.5 pages), 38 sources, APA, AU$ 360.95
»
Click here to show/hide summary
Abstract
This paper analyzes the way information and communication technologies (ICT) resources are currently being used in secondary classrooms in the United Kingdom and Egypt to determine how these can be better used for language education applications. The author used methodologies that include a critical literature review, a statistical analysis of grade point averages before and after ICT initiatives were used and a qualitative and quantitative survey of the secondary students in three secondary schools each located in Egypt and the UK. The paper relates that the delivery of effective language instruction in Arabic and English require a different set of tools and techniques although both ASL and ESL students are motivated by comparable factors and experience similar reactions and emotions concerning their language instruction. This paper includes many table, graphs, quotations, questionnaires and a complete analyzes of the data.
Table of Contents:
Introduction
Statement of the Problem
Purpose of Study
Importance of Study
Research Questions
Scope of Study
Rationale of Study
Overview of Study
Definition of Terms
Preliminary Literature Review
Background and Overview
Education in Egypt
Education in the United Kingdom
Information and Communications
Technology and ESL Applications in the Classroom
Constraints to ESL Delivery in the Arabic-Speaking Egyptian Classroom Constraints to ESL Delivery in the UK Classroom
Methodology
Description of the Study Approach
Data-Gathering Method and Database of Study Population
UK Schools Participating in Study
Egyptian Schools Participating in the Study
Data Analysis
Egyptian and UK Student Survey Results
Summary, Conclusions and Recommendations
Summary Conclusions
Egypt
United Kingdom
Recommendations
Egypt
United Kingdom
Excel Spreadsheet Used in Analysis
From the Paper
"The educational systems in Egypt and the UK bear some similarities as well as important differences that will be discussed further below. One of the similarities, though, is the manner in which the stages of general education are provided. In Egypt today, there are three stages of state general education: (a) primary (six years), (b) preparatory (three years), and (c) secondary (three years). The primary education is for students between the ages of 6 and 12 years and is compulsory; students who are successful in examinations have the opportunity to continue their education first at the preparatory and then at the secondary level. In this regard, there are two types of secondary school, (a) general and (b) technical; the majority of Egyptian technical schools are either commercial, agricultural, or industrial."
|
|
|
