Relevant bibliographies by topics / Hathorn

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Academic literature on the topic 'Hathorn'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Hathorn"

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Hathorn, Kelly E. "Author Spotlight: Kelly E. Hathorn." Digestive Diseases and Sciences 65, no. 8 (May 8, 2020): 2178. http://dx.doi.org/10.1007/s10620-020-06298-z.

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Nadon, Daniel-Raymond. "Ramon Hathorn. Our Lady of the Snows: Sarah Bernhardt in Canada." Theatre Research in Canada 19, no. 1 (January 1998): 96–97. http://dx.doi.org/10.3138/tric.19.1.96.

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Owram, Doug. "Images of Louis Riel in Canadian Culture. Edited by Ramon Hathorn." Canadian Historical Review 102, s1 (June 2021): s240—s241. http://dx.doi.org/10.3138/chr-102-s1-017.

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Stokes, John. "Ramon Hathorn Our Lady of the Snows: Sarah Bernhardt in CanadaNew York: Peter Lang, 1996. 327 p. ISBN 0-820-42899-X." New Theatre Quarterly 14, no. 55 (August 1998): 291. http://dx.doi.org/10.1017/s0266464x00012239.

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Vertiienko, H. V. "«ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 340–47. http://dx.doi.org/10.37445/adiu.2019.04.25.

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The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.
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Bleiberg, Edward, and Geraldine Pinch. "Votive Offerings to Hathor." Journal of the American Oriental Society 118, no. 4 (October 1998): 569. http://dx.doi.org/10.2307/604800.

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PREYS, René. "Hathor au sceptre-ouas." Revue d'Égyptologie 53 (January 1, 2002): 197–212. http://dx.doi.org/10.2143/re.53.0.504267.

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PREYS, R. "Hathor fille de Noun." Revue d'Égyptologie 57 (December 31, 2006): 199–216. http://dx.doi.org/10.2143/re.57.0.2019404.

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Koch, Ido. "Revisiting the Fosse Temple at Tel Lachish." Journal of Ancient Near Eastern Religions 17, no. 1 (July 7, 2017): 64–75. http://dx.doi.org/10.1163/15692124-12341286.

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This paper reconsiders the Late Bronze Age history of the Fosse Temple at Lachish and reconstructs its context vis-à-vis the broader role of the local Canaanite cult. During the reign of Amenhotep iii the structure’s plan was modified to conform to Egyptian-style and there was a profusion of Egyptian imports to the site, primarily associated with the cult of Hathor. These facts reflect the cultic innovations that were taking place in Egypt itself—the self-deification of Amenhotep iii and his consort, Tiye, including her depiction and worship as Hathor. It is consequently argued that the translation of Hathor/Tiye into the local goddess, Elat, and its continuous practice until the late 13th century bc echo the integration of Egypt within the indigenous cultural world.
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SaadAllah, Tamer. "DeduSebek Dedicated Hymns to Hathor." International Journal of Heritage, Tourism and Hospitality 12, no. 1 (March 1, 2018): 35–42. http://dx.doi.org/10.21608/ijhth.2018.31492.

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Dissertations / Theses on the topic "Hathorn"

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Pinch, Geraldine. "Votive offerings to Hathor /." Oxford : Griffith Institute, Ashmolean Museum, 1993. http://catalogue.bnf.fr/ark:/12148/cb35684576b.

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Basson, Danielle. "The Goddess Hathor and the women of ancient Egypt." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20292.

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Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: In studying ancient Egypt researchers have a great advantage, in that there is a multitude of recorded material to draw from. Unfortunately for anyone interested in studying ancient Egyptian women, the recorded material was most often recorded by, commissioned by, and concerned with, men; royal or high-ranking men to be precise (Robins, 1993: 11-12). Thus, we must look into non-textual artefacts and offerings which may have a symbolic meaning. Though, the textual sources should not be neglected, since these may hold clues to the position and perception of women in society: perceptions held by men. This thesis has drawn largely on art and artefacts to investigate the relationship between women in ancient Egypt and the goddess Hathor. Women are traditionally the mothers, caretakers and homemakers of society. But they are not only that. Women are also individuals, capable of individual thought, feelings, anxieties, hopes and dreams; and like their male counterparts, women also experience religion. But, as was clearly displayed in the thesis, Egyptian women not only experienced religion, they lived religion. In the ancient Egyptian context there was no escaping religion. It must also be understood that the ancient Egyptians thought that the man was the seat of creation and that semen was the essence of creation (according to the cosmogony of Heliopolis, cf. Cooney, 2008: 2). A failure to conceive would be placed directly upon the shoulders of the woman, and could be grounds enough for divorce (Robins, 1993: 63). Women in ancient societies served the main function of child-rearing. This may seem backward, but it was an essential function, without which society would cease to function. When a woman failed to conceive, she in essence failed her function as a woman; many women (and men) in this situation turned to religion. This is where this thesis topic comes into play, since Hathor was a goddess of sexuality and fertility, but also had aspects of safeguarding and caretaking. Women were naturally drawn to her and she developed a large cult following, with cult centres scattered throughout Egypt. Not only were many of her followers female, but her priests were also female (Gillam, 1995: 211-212). Hathor might have been the most relatable of the goddesses because of her dual-nature; she is a caretaker and sexual being, but she can also become fierce and even bloodthirsty. Devotion to Hathor was widespread, with cult centres at Deir el-Bahari, Faras, Mirgissa, Serabit el-Khadim, Timna, Gebel Zeit and elsewhere, each with its own large deposit of votive offerings (Pinch, 1993). Hathor is also referenced in letters between females in a family, as one daughter writes to her mother: “May Hathor gladden you for my sake” (Wente, 1990: 63). It is because of this that this thesis investigated to what an extent ancient Egyptian women had a relationship with her.
AFRIKAANSE OPSOMMING: In die ondersoek van ou Egipte, het navorsers `n groot voordeel, deurdat daar `n groot verskeidenheid bronne beskikbaar is om mee te werk. Ongelukkig, vir enigeen wat daarin geïnteresseerd is om die antieke Egiptiese vrou na te vors, is die meerderheid van die bronne deur mans opgeteken, of in opdrag van hulle, en het ook betrekking op mans; koninklike of hooggeplaaste mans, om meer spesifiek te wees (Robins, 1993: 11-12). Daarom, moet ons ook ongeskrewe artefakte en offerandes bestudeer, wat moontlik simboliese betekenisse kan inhou. Dit beteken egter nie dat ons wel geskrewe bronne moet ignoreer nie, aangesien dit tog leidrade oor die posisie van vroue in die samelewing en hoe hulle deur mans beskou is, kan verskaf. Hierdie tesis het grootliks gebruik maak van kuns en artefakte om die verhouding tussen die vroue van antieke Egipte en die godin Hathor na te vors. Volgens tradisie, is vrouens die moeders, oppassers en tuisteskeppers van `n gemeenskap, maar hulle is nie net dit nie. Vroue is ook individue, in staat tot hul eie gedagtes, gevoelens, vrese, hoop en drome; en nes hul manlike eweknieë, kan vroue ook geloof ervaar. Maar, soos duidelik in die tesis uiteengesit is, het Egiptiese vroue nie net geloof ervaar nie, maar geloof geleef. In die antieke Egiptiese konteks was geloof onontkombaar. Die leser moet ook verstaan dat die antieke Egiptenare geglo het dat die man die skeppingsbron was and dat semen die kern van die skepping was (volgens die Heliopolis Kosmogonie, vgl. Cooney, 2008: 2). Indien „n egpaar probleme ondervind het om swanger te raak, het die blaam direk op die vrou se skouers gerus en was ook `n aanvaarde rede vir egskeiding (Robins, 1993: 63). Vroue in antieke gemeenskappe het hoofsaaklik gedien om kinders groot te maak. Dit mag dalk “agterlik” voorkom, maar dit was `n essensiële rol, waarsonder die gemeenskap nie sou kon funksioneer nie. Indien `n vrou nie kon swanger word nie, het sy in essensie in haar doel as `n vrou misluk; daarom het baie vroue (en mans) in hierdie situasie hulle na godsdiens gekeer. Dit is hier waar hierdie tesis aansluit, aangesien Hathor `n godin van seksualiteit en vrugbaarheid was, maar ook aspekte van beskerming en versorging gehad het. Vroue was natuurlik tot haar aangetrokke, `n groot gevolg het om haar kultus versamel en kultus-sentrums het deur Egipte versprei. Nie net was haar navolgers vroulik nie, maar ook haar priesters was vroulik (Gillam, 1995: 211-212). Hathor was moontlik die godin waarmee die mense die maklikste kon identifiseer, omdat sy `n tweeledige natuur gehad het; sy was `n versorger en `n seksuele wese, maar sy kon ook kwaai en bloeddorstig raak. Die aanbidding van Hathor was wydverspreid, met kultus-sentrums by Deir el-Bahari, Faras, Mirgissa, Serabit el-Khadim, Timna, Gebel Zeit en elders, elk met sy eie groot versameling artefakte (Pinch, 1993). Hathor word ook benoem in briewe tussen vroulike familielede, soos een dogter aan haar moeder skryf: “Mag Hathor jou bly maak vir my onthalwe” (Wente, 1990: 63). Dit is hoekom hierdie tesis nagevors het tot wat `n mate daar `n verhouding tussen antieke Egiptiese vroue en Hathor bestaan het.
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Elwart, Dorothée. "Apaiser Hathor : le rite de présentation des sistres à Dendara." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5021.

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En Égypte ancienne, le sistre est un objet sonore à l’effigie de la déesse Hathor utilisé essentiellement dans un contexte rituel. Cette thèse de doctorat s’intéresse au rite dit d’« offrande » des sistres dans les temples de Dendara (époque gréco-romaine), à partir d’un recueil documentaire de cent tableaux inscrits, qui figurent le pharaon présentant ces objets à la déesse Hathor. Le rite connaît plusieurs variantes iconographiques – les sistres pouvant être offerts seuls, par deux ou accompagnés d’autres objets cultuels – qui en déterminent la portée symbolique et mythologique. L’étude détaillée de la phraséologie de chacune des variantes du rite permet de mieux saisir les modes d’expression de son attendu majeur : l’apaisement d’Hathor. Il est démontré dans ce travail que le sistre est un vecteur actif de sons et d’images visant à réduire la colère de cette divinité et à la réjouir. L’expression des émotions de la déesse et l’apparition de sa face solaire déterminent en particulier le succès de la performance rituelle. Enfin, au-delà de l’échange entre le pharaon, manipulateur du sistre, et la déesse qui le reçoit, se manifeste un environnement divin en liesse, célébrant l’apaisement d’Hathor par des démonstrations de musiques, de danses et de jubilation
In Ancient Egypt, the sistrum is both a musical instrument used in a specific religious context and the effigy of the goddess to whom the object is presented. This doctoral thesis assesses a corpus of the 100 engraved scenes that represent the Pharaoh performing the ritual of offering one or two sistra to the goddess Hathor in the temples of Dendara (Greco-Roman period). The scene of Pharaoh handling two different sistra and playing with them is the most frequent. The other types of scenes are as varied as the ritual itself, to which each different type of sistrum brings its own meaning. Analyses of these rituals open up three broad areas of investigation: the process of the appeasement of Hathor, the ritual’s performance and the music and collective jubilation. The appeasement of Hathor leads to a change in her state and to the apparition of her face. The texts demonstrate that the sistrum is not the simple material gift offered to a goddess but an “audio” and “visual” medium, which bears the emotional vectors linked to the act of hearing and seeing the deity. Eventually, the sistrum and its offering take place in a full and very detailed musical and joyful environment sustained by the actors of ritual themselves as well as by a broader divine world
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Bernhauer, Edith. "Hathorsäulen und Hathorpfeiler : altägyptische Architekturelemente vom Neuen Reich bis zur Spätantike /." Wiesbaden : Harrassowitz, 2005. http://catalogue.bnf.fr/ark:/12148/cb41080608p.

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Hansson, Lena. "Gudinnan Hathor : en studie ur metallurgiverksamhetens perspektiv som belyser auktoritära strukturer i forna Egypten." Thesis, Högskolan Dalarna, Religionsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4878.

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Denna studie undersöker gudinnan Hathors funktion i forna Egypten med utgångspunkt från metallurgiverksamheten som Hathor var beskyddare över. Studien undersöker vad för behov som uppstår i metallurgikontexten och hur denna kan ha påverkat och speglats i förställningar kring gudinnan Hathors funktion i forna Egypten. Studien stödjer sig på William Padens teori om religiösa Världar för att därigenom belysa hur behov i en specifik kontext kan spelgas i den Religiösa Världen. Undersökningen baseras på tolkningar av en rad olika forskningsrapporter. Dels etnografiska dokumentationer om metallurgikontexter ifrån Afrika söder om Sahara, arkeologiska utgrävningar från gruvområdet i Timna i Sinai och forskares interpretationer kring gudinnan Hathors funktion i forna Egypten. Ifrån metallurgiverksamheten studerades dels hur den äldre teknologin fungerade och hur den inverkade på religiösa föreställningar och den auktoritära strukturen i Afrika. Därtill vad för sorts belägg som finns för metallurgiverksamhet i Timna i Sinai och hur gudinnan Hathors kults närvaro i gruvområdet kom till uttryck. Dessutom studeras forskares interpretationer som rör gudinnan Hathors kults funktion, auktoritära struktur och kultens förhållande till konungen i forna Egypten. Dessa uppgifter analyserades därefter och studien visar starka indikationer på att gudinnan Hathor skapades och användes i syfte att gagna en begränsad grupps intresse i forna Egypten. Att gudinnan Hathors funktion och de offentliga festivalerna var till för att upprätthålla en auktoritär struktur och vidmakthålla smidessläktets och prästerskapets makt.
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Châtelet, Catherine. "Hathor la Menit dans les temples de Dendara et d’Edfou : une étude philologique, iconographique et sémiologique." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP028.

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Cette recherche se positionne dans la continuité d’une première étude portant sur le collier-menit dans les temples ptolémaïques et publiée dans la collection Monographie Reine Élisabeth. Ce collier, qui est un des objets sacrés d’Hathor porte également le nom de l’entité divine du même nom, forme d’Hathor de Dendara et d’Edfou dont cette étude fait l’objet. En tant que forme d’Hathor, quels sont les termes, les parures, les actions, la gestuelle, qui pouvaient la différencier de la grande Hathor, si toutefois cela est envisageable, ces deux divinités étant intimement associées ? Une partie de cette recherche porte sur l’étude de la chapelle du collier-menit, dont les textes et les épithètes de la déesse ont été analysés d’un point de vue stylistique afin d’essayer de comprendre la démarche des hiérogrammates et la raison d’être d’une telle chapelle dédiée à Hathor la Menit, sachant que pour les deux autres formes secondaires d’Hathor : « Hathor-chef-du-grand-siège » et « Hathor-uraeus », il n’en existe point. Hathor la Menit est la récipiendaire de nombreuses offrandes, qui ont été étudiées et contextualiser, afin de comprendre son implication dans chacune de ces scènes et de cerner au mieux la personnalité de cette déesse. L’étude des épithètes de la déesse « Hathor, maîtresse de Iounet, la Menit », a permis de mettre en lumière un certain nombre de traits caractéristiques de sa personnalité. Il appert que si les épithètes la caractérisant sont généralement en rapport avec l’offrande qui lui est faite, c’est toujours en tant que protectrice de son frère Osiris, de son père Rê ou de son fils qu’elle intervient dans ces occurrences. Son étude dans le temple d’Edfou s’imposait afin de comprendre comment elle était perçue dans ce temple apollonopolitain ? Bien que les offrandes qui lui sont faites ne lui sont pas spécifiques, étant principalement destinées à Horus, elle assume toujours son rôle de protectrice de son parèdre, venant renforcer son action dans la scène où il est impliqué, de son père Rê ou de son fils Harsomtous. On retrouve ainsi, d’un temple à l’autre, une déesse Hathor la Menit, qui s’intègre dans les différents espaces théologiques du temple et que ses épithètes relient toujours à la notion de protection, de brillance, et dont la finalité est de la promouvoir au rang d’une déesse primordiale, universelle et garante du retour des cycles, qu’ils soient cosmiques, avec la renaissance du dieu solaire, ou le retour de l’inondation indispensable à la survie de l’Égypte, ou terrestre avec la perpétuation du représentant de son fils Horus sur terre. Déesse Quadrifrons, s’incarnant dans sa manifestation de collier-menit, Hathor la Menit se distingue par son aspect essentiellement protecteur et solaire. Lorsqu’il s’agit de garantir le cycle solaire, elle s’incarne dans le collier-menit protégeant Rê dans sa transformation nocturne ; lorsqu’il s’agit de garantir le cycle des êtres vivants, c’est sa forme de collier-menit à l’enfant qu’elle rejoint dans la chapelle du collier-menit afin d’assurer la renaissance de l’enfant solaire
This research follows a previous study on the menit-offering in all Ptolemaic temples published in the Monographie Reine Elisabeth. This menit-necklace, which is one of the sacred symbols of Hathor, bears the same name as the goddess Hathor the Menit, a form of Hathor in Dendara and Edfu temple who is the subject of this study. Regarding this form of Hathor as tȝ Mnj.t, what are the terms, the ornaments, crowns, actions, gestures that can differentiate her from the great Hathor, if that is at all possible, these two divine entities being so intrinsically associated? Part of this research deals with the temple of the Menit itself. All its inscriptions have been translated and studied in order to try and understand what the scribes had in mind in deciding to dedicate this chapel to Hathor the Menit, when the two other minor forms of Hathor: « Hathor-on-her-great-seat » and « Hathor-uraeus » had none. Scribal techniques such as word plays, signs plays and iconographic plays have been taken into account to reveal the themes scribes wanted to emphasize most. She receives a great deal of different offerings, which proved to be extremely interesting to investigate, in order to understand her involvement in each of these offering scenes and to best pinpoint her characteristics. The study of her epithets emphasised several features in relation to her character which are indeed, often related to the offering she receives. They underline her strong association with protection, being the Protector for a brother Osiris, her father Re or her son. There was then a need to investigate her role in the temple of Edfu, in order to understand how she was perceived there, in this Apollonopolitan temple dedicated to the god Horus. Even though she is not the main recipient of the offerings, she always fulfills her protective role towards her husband, reinforcing his action in the scene he is involved, or her father Re or her son Harsomtus. It comes out that Hathor the Menit fits into all the various theological areas of the temple and that her epithets always connect her to the idea of protection, brightness, their purpose being to promote her to the rank of a primordial, universal goddess ensuring the return of the cycles, whether these are cosmic, involving the rebirth of the solar god or the return of the vital inundation for Egypt’s survival, or earthly in the perpetuation of the representant of her son Horus on earth. Quadrifrons goddess, embodying her menit-neklace, Hathor the Menit distinguishes herself through her protecting and solar features. When it comes to ensuring the continuity of the solar cycle, she then manifests herself in her cult-menit-necklace protecting Re during his night-time transformation, when it comes to ensure the human beings ’cycle, it is her menit-necklace holding a child in its arm in which she chooses to act in the chapel
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Rogers, Jill Stafford. "Reciprocity and syncretism in Ptolemaic Egypt the Denderah temple as a case study /." Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11192008-155225/.

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Carbillet, Aurélie. "La Figure hathorique à Chypre : (IIe-Ier mill. av. J.-C.)." Strasbourg, 2009. http://www.theses.fr/2009STRA1002.

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Cette étude vise à déterminer l’origine, l’identité, la place et les fonctions de la figure hathorique à Chypre (IIe-Ier millénaire av. J. -C. ), par le recensement et l’étude systématique et attentive de ses représentations et des supports qui les accueillent. Une étude préliminaire des figurations de la déesse égyptienne a permis de définir les caractéristiques iconographiques d’une figure hathorique afin d’identifier et d’isoler, parmi le mobilier chypriote, l’imagerie de la déesse. Ces testimonia ont ensuite été répertoriés dans un catalogue exhaustif et classés selon leur matériau, la nature de leur support et leur lieu de découverte afin de permettre leur étude comparative. Sur la base de ce catalogue, la réflexion s’organise autour de trois chapitres qui proposent une étude iconographique, stylistique et contextuelle de chacun des documents visant à comprendre et à retracer l’histoire de cette figure divine, de ses origines à sa disparition. Un premier chapitre analytique fournit une interprétation ponctuelle mais approfondie de chaque document dans une perspective chronologique et comparatiste. Les deux autres chapitres sont davantage synthétiques : le second définit l’identité de cette figure divine à Chypre (formes, attributs, fonctions) et s’interroge sur ses affinités avec la Grande Déesse insulaire ; le dernier propose une identification des processus historiques et des intentions qui ont présidé à la pénétration de cette divinité égyptienne, sa transposition, à Chypre, en figure divine et sa disparition au IVe s. Av. J. -C
This study deals with the origin, the identity, the place and the functions of the Hathoric figure in Cyprus (IInd-Irst millennium BC), through the inventory, the systematic and attentive study of its representations and of the supports which receive them. An exam of the representations of the Egyptian goddess was essential to define the iconographic characteristics of the Hathoric figure in order to identify and isolate, among the Cypriote furniture, the imagery of the goddess. These testimonia were listed in an exhaustive catalog, classified according to their material, their kind of support and their place of discovery with the aim of facilitating their study. This catalog is the base of this reflection built around 3 chapters: iconographic, stylistic and contextual study of each document. This study had one achievement: understanding and redrawing the history of this divine figure, from its origins to its disappearance. A first analytical chapter so supplies a punctual but detailed interpretation of every document in chronological and comparative viewpoints. Two other chapters are more synthetic: the second defines the identity of this divine figure in Cyprus (forms, attributes, functions) and wonders about its links with the Great Cypriote Goddess; the last one proposes an identification of the historic process and the intentions which preside over the penetration of this Egyptian divinity, its transposition, in Cyprus, in divine figure and its disappearance in 4th BC
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Strandberg, Åsa. "The Gazelle in Ancient Egyptian Art : Image and Meaning." Doctoral thesis, Uppsala universitet, Egyptologi, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107642.

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This thesis establishes the basic images of the gazelle in ancient Egyptian art and their meaning. A chronological overview of the categories of material featuring gazelle images is presented as a background to an interpretation. An introduction and review of the characteristics of the gazelle in the wild are presented in Chapters 1-2. The images of gazelle in the Predynastic material are reviewed in Chapter 3, identifying the desert hunt as the main setting for gazelle imagery. Chapter 4 reviews the images of the gazelle in the desert hunt scenes from tombs and temples. The majority of the motifs characteristic for the gazelle are found in this context. Chapter 5 gives a typological analysis of the images of the gazelle from offering processions scenes. In this material the image of the nursing gazelle is given particular importance. Similar images are also found on objects, where symbolic connotations can be discerned (Chapter 6). References to healing and regeneration are found, particularly in relationship to the context of the objects. The gazelle is found in a divine context in a limited material (Chapter 7). A discussion of these sources sees a focus on the gazelle as representative for the desert mountains as the setting for death and rebirth. This relates to the gazelle as a feminine image with a connection to the models of female divinity (Chapter 8).
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Cassier, Charlène. "Tepytihout (Atfih) et sa province : recherches de géographie religieuse." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30034.

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L’objet de cette thèse est de contribuer à la connaissance de l’histoire de la 22e province de Haute Égypte (Méténou) et de sa métropole (Tepytihout) dont les vestiges sont visibles aujourd’hui à Atfih. La documentation réunie est essentiellement de nature philologique – le site a bénéficié de très peu de fouilles archéologiques – et religieuse. Grâce à celle-ci, plusieurs aspects relatifs à la géographie sacrée et aux cultes de cette province peuvent être mis en relief. Dans un premier temps, l’étude de la toponymie a permis d’identifier quelques territoires, puis de définir certaines légendes mythologiques qui leur sont liés. Quelques échanges entre la 22e province de Haute Égypte et les régions qui lui sont limitrophes ont ensuite été mis en avant : influences religieuses venues du Delta, liens très anciens et qui perdurent jusqu’à l’époque romaine avec le Fayoum, mythes communs avec les 17e et 18e provinces de Haute Égypte. Dans un deuxième temps, la nature des divinités dont le culte est pour l’heure attesté dans la province a été analysée. L’étude des déesses, Hathor, Isis, Hésat et Neith, s’est conclue sur l’hypothèse que l’entité divine « Première des vaches », qui donne son nom à la capitale provinciale Tepytihout, est originaire du Fayoum. Il a ensuite été mis en avant que, à l’exception de l’ancien dieu Sobek, les divinités masculines vénérées dans la province, Harmotès et Osiris, ont été introduites tardivement au panthéon local
The aim of this thesis is to contribute to the knowledge of the history of the 22nd province of Upper Egypt (Metenou) and its metropolis (Tepytihout) which remains are visible today at Atfih. The documentation collected is essentially of philological nature – the site has benefited from limited excavations – and religious. Thanks to this, several aspects with regard to sacred geography and worships of this province can be explained. Firstly, the study of the toponymy has allowed to identify some territories, then to define some mythological legends which are attached to them. Then, several exchanges between the 22nd province of Upper Egypt and the neighbouring regions are highlighted : religious influences coming from the Delta, very old links with the Fayum, which continue until the Roman period and common myths with the 17th and 18th provinces of Upper Egypt. Secondly, the nature of divinities, whose worship is currently attested in the province, is analysed. The study of the goddesses, Hathor, Isis, Hesat and Neith, suggests the possibility that the divine entity ‘First of the Cows’, which gives her name to the provincial capital Tepytihout, originates from the Fayum. Then, it is highlighted that, except for the god Sobek, masculine divinities which are venerated in the province, Harmotes and Osiris, were placed later within the local pantheon
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Books on the topic "Hathorn"

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Cliff, Laura W. Hathorn/Harthorn: The ancestors and descendants of William Hathorn of Cushing, Maine. [Searsport, ME: L.W. Cliff, 1986.

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Libby, Hathorn, and Rogers Gregory, eds. Photocopiable activities based on Way home by Libby Hathorn and Gregory Rogers. Leamington Spa: Scholastic, 1999.

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Petroski, Catherine. A bride's passage: Susan Hathorn's year under sail. Boston: Northeastern University Press, 1997.

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Qadri, Sayyed S. M. Hathon mein taqdeer. Lahore: Takhleeqat, 1998.

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Ison, A. J. A history of Hathern. Loughborough: Dover Reprints, 2003.

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Sabaté, Víctor. El joven Nathaniel Hathorne. Barcelona: Rayo Verde Editorial, 2012.

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Sabaté, Víctor. El jove Nathaniel Hathorne. Barcelona: Rayo Verde Editorial, 2012.

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Nayyar, F. R. Goray hathon peh mehdi. Rawalpindi: Nawab Sons, 2001.

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Museum, Ashmolean, and Griffith Institute, eds. Votive offerings to Hathor. Oxford: Griffith Institute, Ashmolean Museum, 1993.

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Emmerton, James A. Hathorne family of Salem, Massachusetts. [Salem: s.n., 1985.

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Book chapters on the topic "Hathorn"

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Kato, Ikuyo. "A Re-examination of P. Tor. Botti 34 A A Demotic Document made by Agents of Hathor for Elders of the Temple of Hathor from the Archive of Twtw (2nd century BC, Djeme)." In New Approaches in Demotic Studies, edited by Franziska Naether, 135–50. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110664874-007.

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Mironova, Alexandra V. "The Relationship between the Space and the Scenery of an Egyptian Temple: Scenes of the Opet Festival and the Festival of Hathor at Karnak and Deir el-Bahari under Hatshepsut and Thutmose III." In Mosaikjournal: Raumdimensionen im Altertum>, edited by Maria Kristina Lahn and Maren-Grischa Schröter, 279–330. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463233341-011.

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"103 To Capt. Hugh Hathorn, of the Brigg Greg 11 July 1756 [f. 84]." In Records of Social and Economic History: New Series, Vol. 28: Letterbook of Greg & Cunningham, 1756–57: Merchants of New York and Belfast, edited by Thomas M. Truxes, 174. British Academy, 2001. http://dx.doi.org/10.1093/oseo/instance.00164115.

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"104 To Capt. Hugh Hathorn, of the Brigg Greg 12 July 1756 [f. 85]." In Records of Social and Economic History: New Series, Vol. 28: Letterbook of Greg & Cunningham, 1756–57: Merchants of New York and Belfast, edited by Thomas M. Truxes, 175. British Academy, 2001. http://dx.doi.org/10.1093/oseo/instance.00164116.

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"Hathor." In ’Ašerah, 217–21. BRILL, 1986. http://dx.doi.org/10.1163/9789004369436_017.

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"Hathor." In Encyclopedic Dictionary of Archaeology, 582. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_80149.

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"HATHOR-ISIS." In La renaissance de Dendara, 117–19. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26j6w.32.

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"Hymnes à Hathor." In Dendara. Hymnes a Hathor et a Isis, 15–306. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26npk.3.

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Donker van Heel, Koenraad. "Women Can Party Too." In Mrs. Naunakhte & Family. American University in Cairo Press, 2016. http://dx.doi.org/10.5743/cairo/9789774167737.003.0011.

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This chapter examines an ostracon, O. Cairo CG 25705 + O. IFAO 1322 + O. Varille 38 (or O. Cairo CG 25705+), showing what appears to be a women's drinking party in Deir al-Medina. At first glance, O. Cairo CG 25705+, dated to the reign of Ramesses III or IV, seems to deal with a women's drinking party in honor of the goddess Hathor. The text also mentions Telmontu, who was related to Naunakhte through marriage: her son Neferhotep was married to his daughter. However, this might not be the goddess Hathor after all, but the birthday girl herself (or perhaps a girl who had just had her first menstruation or child). The personal name Hathor is actually not all that uncommon in Deir al-Medina. In theory this drinking party could even refer to a memorial service for a deceased Hathor. This chapter considers the possibility that Naunakhte's daughters and sons, and even her husband Khaemnun, attended similar events.
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Verner, Miroslav. "Dendera: The Heliopolis of Hathor." In Temple of the World, 442–81. American University in Cairo Press, 2013. http://dx.doi.org/10.5743/cairo/9789774165634.003.0011.

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Conference papers on the topic "Hathorn"

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Huang, He. "Research on the Facade Image of the Goddess Hathor in Ancient Egypt." In 2018 4th International Conference on Humanities and Social Science Research (ICHSSR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ichssr-18.2018.44.

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O'Driscoll, Danielle, Paul J. Bruce, and Matthew J. Santer. "Hypersonic foldable Aeroshell for THermal protection using ORigami (HATHOR): evaluation of deployable structural rigidity during descent." In AIAA Scitech 2021 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2021. http://dx.doi.org/10.2514/6.2021-1031.

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Uwer, Peter. "HATHOR for single top-quark production: Updated predictions and uncertainty estimates for single top-quark production in hadronic collisions." In Fourth Annual Large Hadron Collider Physics. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.276.0166.

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El-Shafei, A., and M. El-Hakim. "Development of a Test Rig and Experimental Verification of the Performance of HSFDs for Active Control of Rotors." In ASME 1995 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/95-gt-256.

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This paper summarizes the experimental development of hybrid squeeze film dampers (HSFDs) for active control of rotor vibrations. In a recent paper (El-Shafei and Hathout, 1994) it was shown that the automatically controlled HSFD can be a very useful device for the active control of rotors. A complete mathematical model of the open-loop system was developed. An on-off control strategy based on speed feedback was proposed and was shown by the simulation results to be quite effective in controlling the rotor vibrations. In this paper, the development of a test rig for the experimental investigation of the HSFD-rotor system is presented. The design of the test rig, the HSFD and the rotor system are discussed. The experimental set-up consists of the rotor-HSFD system controlled through a pressure control servovalve for controlling the pressure in the sealing chambers. The hydraulic circuit is controlled through a digital computer with a data acquisition and control system. The on-off control strategy with feedback on speed is implemented on the computer control system and is shown to be quite effective in controlling the first mode of vibration of the rotor system.
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Reports on the topic "Hathorn"

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Geologic map of the Hathor region (Jg-15) of Ganymede. US Geological Survey, 1994. http://dx.doi.org/10.3133/i2388.

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Shaded relief and surface markings of the Hathor region of Ganymede. US Geological Survey, 1987. http://dx.doi.org/10.3133/i1860.

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