By Christina Riggs
From Berlin to Boston, and St Petersburg to Sydney, historic Egyptian artwork fills the galleries of a few of the world's maximum museums, whereas the structure of Egyptian temples and pyramids has attracted travelers to Egypt for hundreds of years. yet what did Egyptian paintings and structure suggest to the folks who first made and used it - and why has it had such an everlasting attraction?
In this Very brief Introduction, Christina Riggs explores the visible arts produced in Egypt over a span of a few 4,000 years. The tales in the back of those gadgets and structures have a lot to inform us approximately how humans in historic Egypt lived their lives on the subject of one another, the typical atmosphere, and the area of the gods. Demonstrating how historic Egypt has interested Western audiences over the centuries with its notable pyramids, eerie mummies, and special visible sort, Riggs considers the connection among historical Egypt and the fashionable global.
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Extra info for Ancient Egyptian Art and Architecture: A Very Short Introduction
But they are more difficult to ignore if one includes women's experiences in the study of a society. In fact, women in Bedouin society are deeply concerned with strictly political matters concern ing the tribe and group conflict, affairs such as the tribal reconcilia tion described above in which their husbands, fathers, and sons are directly involved. They share the martial ethos of Bedouin society. But just as Bedouin women are fiercely loyal to the tribe and dedi cated to autonomy, so Bedouin men are more than merely political actors.
Two recent anthropological studies of Arab tribal poetry (Meeker 1 979; Caton 1 984) 16 define the rela tionship between poetry and society in ways that go beyond both the old notion of folklore as a receptacle and source of cultural wisdom and values and the Wes tern aesthetic notion of the arts as the expression of individual genius. Michael Meeker, in a brilliant and complex analysis of Rwala Bedouin poetry and society based on ethnographies from the early part of this century, defines the link thus: Bedouin words, far more than Bedouin actions, were the center of an effort to work out the various possibilities and im possibilities of uncertain political relationships.
Rather, I was asking them to be honest, so that I could learn what their lives were like, but at the same time I was unwilling to reveal much about myself. I was presenting them with a persona: I felt compelled to lie to them about many aspects of my life in the United States simply because they could not have helped j udging it and me in their own terms, by which my reputation would have suffered. So I doctored my descriptions and changed the subj ect when they asked about me, but I felt uncomfortable doing so.
Ancient Egyptian Art and Architecture: A Very Short Introduction by Christina Riggs
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