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The download Solution Manual for Humanistic Tradition 7th Edition Fiero 9781259360664 1259360660 full chapter new 2024
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Study Questions
Factual
1. What natural forces were considered sacred in Egyptian society?
2. How did Egyptian geography and topography affect the area’s history and religious life?
3. The “Hymn to the Aten” praises the sun for a variety of features. What are these?
4. What themes are depicted on the Palette of Narmer?
5. Where were the pyramids erected? Why? Why did later dynasties abandon this burial site?
6. What is the “Book of the Dead”?
7. What was the main thrust of Akhenaton’s reforms? Why did they fail?
8. Briefly describe ancient Egypt’s social order. What role did women play in this order?
Challenge
1. What do the impressive efforts to build the pyramids indicate about death
in Egyptian society?
2. Assess the role of tradition in Egyptian culture and history. To what extent did
the traditional order operate to give stability to Egyptian culture?
3. How did Egyptians prepare the body of the pharaoh for burial? Why were these procedures
undertaken?
4. Why, in your view, do mummies and mummification remain a subject of fascination
in our own time?
5. What was the function of the “canon” in Egyptian art?
6. What themes were depicted in the frescoes and carvings of Egyptian tombs?
7. What themes dominate Egyptian lyric poetry? What can be said of the “speakers”
in each poem (Egyptian Poetry)?
8. Who controlled Egypt’s great temples? How did the temples function in daily life?
9. Research the technology of pyramid and temple building. How did they differ from those
of the culture that constructed Stonehenge?
10. What roles did slaves play in Egyptian life? How did individuals fall into the status of slaves?
IM–2|1
Establish the nature of this ideology among the ancient Egyptians, and use this for
comparative purposes in chapters 1, 3, 4, 8, and 9.
IM–2|2
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ornament; but the main figures and general design have perished.
The walls of the opposite chamber were never cased with marble, so
that the pilgrims were able to leave here the same tokens of their
visits as they left at St. Sixtus’. The graffiti are of the same general
character, but of a somewhat later date; the old forms of prayer have
disappeared; most of the names and inscriptions are in Latin; and
among the few that are Greek, there are symptoms of Byzantine
peculiarities.
The chief object of interest, however, now remaining in these
chambers is the epitaph which stands in the middle of the smaller
room. Of course, this was not its original position; but it has been so
placed, in order that we may see both sides of the stone without
difficulty, for both are inscribed. The stone was originally used for an
inscription in honour of Caracalla, belonging to the year 214. The
Christian inscription on the other side professes to have been set up
by “Damasus, Bishop, to Eusebius, Bishop and Martyr,” and to have
been written by Furius Dionysius Filocalus, “a worshipper (cultor)
and lover of Pope Damasus.” But it is easy to see at a glance that it
never was really executed by the same hand to which we are
indebted for so many other beautiful productions of that Pope. At
first, therefore, and whilst only a few fragments of this inscription had
been recovered, De Rossi was tempted to conjecture that it might be
one of the earliest efforts of the artist who subsequently attained
such perfection. At length, however, the difficulty was solved in a
more sure and satisfactory way. A diligent search in the earth with
which the chamber was filled brought to light several fragments of
the original stone, on which the letters are executed with the same
faultlessness as on the other specimens of its class. The visitor to
the Catacombs may see them painted, in a different colour from the
rest, in the copy of the epitaph which De Rossi has caused to be
affixed to the wall; and he will observe that amongst them are some
letters which are wanting in the more ancient copy transcribed on the
reverse of Caracalla’s monument. It is clear that the original must
have been broken in pieces, by the Lombards or other ancient
plunderers of the Catacombs, and that the copy which we now see is
one of the restorations by Pope Vigilus or some other Pontiff about
that time (page 47). The copyist was so ignorant that he could only
transcribe the letters which were on the spot before his eyes, and,
even when he was conscious that a letter was missing, he could only
leave a vacant space, being doubtful how it should be supplied.
Witness the space left for the first letter of Domino in the penultimate
line of the inscription, and the word in altogether omitted in the third
line.
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