Prelude to the sphinx -- The discovery of the sphinx -- The sphinx's journey to America -- The sphinx in Philadelphia -- After the sphinx -- Ancient Memphis: the city of the sphinx -- The world of Egyptian sphinxes -- Getting to know the sphinx
This edited collection considers representations of ancient Egypt in the literature of the nineteenth-century. It addresses themes such as reanimated mummies, ancient Egyptian mythology and contemporary consumer culture across literary modes ranging from burlesque satire to historical novels, stage performances to Gothic fiction and popular culture to the highbrow. The book illuminates unknown sources of historical significance – including the first illustration of an ambulatory mummy – revising current understandings of the works of canonical writers and grounding its analysis firmly in a contemporary context. The contributors demonstrate the extensive range of cultural interest in ancient Egypt that flourished during Victoria’s reign. At the same time, they use ancient Egypt to interrogate ‘selfhood’ and ‘otherness’, notions of race, imperialism, religion, gender and sexuality.
In the first section of this book, Amyx catalogues and discusses more than 200 fragments of Archaic Corinthian pottery with figure decoration, selected from those previously unpublished or inadequately published. The authors have also given attention to vase-painters of the Protocorinthian and Corinthian periods who were previously known chiefly from works exported in antiquity, and have succeeded in establishing the importance of the Corinth Museum as a center for the study of the Corinthian Style. In the second section, Lawrence presents the contents of a well dug and filled in the Archaic period. The material ranges from Early Protocorinthian to Late Corinthian and includes an important body of material from a potters' dump, here treated separately. Shape development and chronology have been established, especially for oinochoai and kotylai, based on the long series of stratified examples. Other material in the fill includes coarse ware and fragmentary fine ware. The authors attribute a number of pieces to known and newly identified vase-painters.
Everyone in the world is familiar with the Great Pyramid in Egypt, but only a few realize it was ordained by the hand of God. The prophet Isaiah tells us it's an altar and a witness for the one true God. Josephus, the Jewish historian, says it was built by the children of Seth before the great flood. Egyptian legend calls it the "Pillar of Enoch" after the Patriarch who walked with God. Early Jewish writings, Egyptian hieroglyphs, and ancient historians provide clues to the secrets within the Great Pyramid. But first you must ask yourself, what is Truth? Are you willing to set aside your preconceptions to understand the Truth? The Middle of the Earth: Genesis in Egypt reveals astonishing truths that can transform our world and beckon all who read it to the call of Christ. Western civilization has pushed God out of the picture and filled us with false ideas. Author Allen Austin urges you to reject the false absurdities and embrace our true history. It lies in the middle of the earth.
The author of the work derives the origins of what we know as a swastika symbol from the earliest cultures. He studies its origins in the ancient shapes of a cross and brings the comparison of different types of cross symbols, which later evolved in the swastika. Further, the author examines the role of the swastika in the extreme Orient (Japan, Korea, China, and Tibet), the classical Orient (Babylonia, Assyria, Chaldea, and Persia, Phenicia, Lycaonia, Armenia, Caucasus, and Asia Minor - including Troy and mentioning Schliemann), Africa (Egypt, Algeria, Ashantee), classical Occident (Mediterranean - Greece, Cyprus, Rhodes, Milos, and Thera), Europe (the Bronze Age, the Gallo-Roman period, the Anglo-Saxon period, and the swastika on ancient coins), the United States of America (in pre-Columbian times, among the North American Indians, and a "colonial patchwork"), Central America (Nicaragua, Yucatan, and Costa Rica), and South America (Brazil and Paraguay). He shows various artifacts associated with the swastika, including spindle-whorls, coins, vases, and idols. The author also notes the importance of this symbol among both the ancient Buddhists and Hindus. It is generally a very deep and interesting study showing the universalism of the swastika symbol in different cultures of the world.