Through Hermopolitan Lenses, Studies on the So-called Book of Two Ways in Ancient Egypt

Description

In Through Hermopolitan Lenses Wael Sherbiny presents a pioneering study and detailed analysis of the so-called Book of Two Ways based on all the original and hitherto unpublished sources of this pictorial-textual composition from ancient Egypt. Wael Sherbiny, Ph.D. (2008) and MA (1998), Katholieke Universiteit Leuven (Belgium), and BA (1994) Cairo University, is an independent scholar specializing in ancient Egyptian religious texts and is currently preparing his world renowned rediscovery of the Cairo leather roll for publication. ‎Contents ‎List of Figures ‎Chapter 1: Introduction ‎Chapter 2: The Design of the Composition ‎Chapter 3: Design, Translation and Commentary ‎Chapter 4: Concluding Remarks ‎List of Tables ‎List of Plates ‎Preface and Acknowledgements ‎Chapter 1. Introduction ‎The publication of the Coffin Texts ‎The sources of the so-called Book of Two Ways ‎The Cairo leather roll ‎False alarm ‎The frequency of the composition at Deir El Barsha ‎Earlier research on the so-called Book of Two Ways ‎The first step ‎The structure of this study ‎This book’s story ‎Terminological remarks ‎Chapter 2. The Design of the Composition ‎Introduction ‎Remarks on iconography ‎The general layout ‎The direction of the drawings ‎The colors ‎The development of the iconography ‎Representations of living creatures ‎Remarks on texts ‎The disposition of the textual elements ‎The composition versions ‎The typology of the composition ‎Chapter 3. Design, Translation and Commentary ‎Introduction ‎The reference to the deceased in the early sources ‎Part 1 ‎Design of Part 1 ‎Translation of Part 1 ‎Notes on the translation ‎Commentary on Part 1 ‎The textual element 1 ‎Commentary on the first part of text 1 (= CT 1029) ‎Commentary on the second part of text 1 (= CT 1030) ‎Commentary on textual elements 2–4 (= CT 1032–1033) ‎Commentary on the textual element 5 (= CT 1034) ‎Part 2 ‎Design of Part 2 ‎Translation of Part 2 ‎Notes on the translation ‎Commentary on Part 2 ‎Introduction ‎Segment A (Textual elements 1–7 = CT 1036–1037) ‎Segment B (Textual elements 8–13 = CT 1038–1040 + part of 1053) ‎Segment C (Textual elements 14–18 = CT 1041–1042 + part of 1053) ‎Segment D (Textual elements 19–22 = CT 1043–1044 + part of 1053) ‎Segment E (Textual elements 23–26 = CT 1045) ‎Segment F (Textual elements 27–28 = CT 1046 and 1052) ‎Segment G (Textual elements 29–34 = CT 1047, 1049–1051, and part of 1053) ‎Segment H (Textual element 35 = CT 1054) ‎Segment I (Textual elements 36–39 = CT 1055–1056) ‎Segment J (Textual elements 40–41 = CT 1057–1058) ‎Segment K (Textual elements 42–43 = CT 1059–1060) ‎Segment L (Textual elements 44–52 = CT 1061–1064) ‎Segment M (Textual element 53 = CT 1065) ‎Segment N (Textual elements 54–56 = CT 1066–1067) ‎Segment O (Textual element 57 = CT 1068) ‎Panoramic view on the “map” section ‎Part 3 ‎Design of Part 3 ‎Translation of Part 3 ‎Notes on the translation ‎Commentary on Part 3 ‎The first area (Textual elements 1–5) ‎The second area (Textual elements 6–10) ‎The third area (Textual elements 11–15) ‎Part 4 ‎Design of Part 4 ‎Translation of Part 4 ‎Notes on the translation ‎Commentary on Part 4 ‎Part 5 ‎Design of Part 5 ‎Translation of Part 5 ‎Notes on the translation ‎Commentary on Part 5 ‎Part 6 ‎Design of Part 6 ‎Translation of Part 6 ‎Notes on the translation ‎Commentary on Part 6 ‎Part 7 ‎Design of Part 7 ‎Translation of Part 7 ‎Notes on the translation ‎Commentary on Part 7 ‎Part 8 ‎Design of Part 8 ‎1). The design of the area of CT 1088: ‎2). The layout of the area of CT 1089–1094 ‎3). The design of the area of CT 1095–1096 ‎Translation of Part 8 ‎Notes on the translation ‎Commentary on Part 8 ‎The area of CT 1088 ‎CT 1089–1096 ‎Part 9 ‎Design of Part 9 ‎Translation of Part 9 ‎Notes on the translation ‎Commentary on Part 9 ‎Part 10 ‎Design of Part 10 ‎Translation of Part 10 ‎Notes on the translation ‎Commentary on Part 10 ‎Part 11 ‎Design of Part 11 ‎Translation of Part 11 ‎Notes on the translation ‎Commentary on Part 11 ‎Part 12 ‎Design of Part 12 ‎Translation of Part 12 ‎Notes on the translation ‎Commentary on Part 12 ‎Part 13 ‎Design of Part 13 ‎Translation of Part 13 ‎Notes on the translation ‎Commentary on Part 13 ‎Part 14 ‎Design of Part 14 ‎Translation of Part 14 ‎Notes on the translation ‎Commentary on Part 14 ‎Part 15 ‎Design of Part 15 ‎Translation of Part 15 ‎Notes on the translation ‎Commentary on Part 15 ‎Part 16 ‎Design of Part 16 ‎Translation of Part 16 ‎Notes on the translation ‎Commentary on Part 16 ‎Part 17 ‎Design of Part 17 ‎Translation of Part 17 ‎Notes on the translation ‎Commentary on Part 17 ‎Part 18 ‎Design of Part 18 ‎Translation of Part 18 ‎Notes on the translation ‎Commentary on Part 18 ‎Part 19 ‎Design of Part 19 ‎Translation of Part 19 ‎Notes on the translation ‎Commentary on Part 19 ‎Part 20 ‎Design of Part 20 ‎Translation of Part 20 ‎Notes on the translation ‎Commentary on Part 20 ‎Chapter 4. Concluding Remarks ‎The typology of the design ‎“Long” versus “short” versions? ‎Is there a best representative example? ‎The history of the composition ‎Origin and originality ‎The meaning of the composition ‎Difficulties and challenges ‎Towards an interpretation ‎The interlocutory patterns ‎The composition in context ‎The mythical episodes ‎The Osirian myth ‎Thoth and the moon ‎The Winding Waterway ‎The Field of Offerings is not the destination ‎Rosetau in the composition ‎B1Bo in focus ‎The composition and initiation ‎The complementarity of word and image ‎Through Hermopolitan lenses ‎Addendum 1 ‎Addendum 2 ‎Abbreviations of Periodicals and Book Series ‎Bibliography ‎Egyptian Index ‎General Index ‎Plates