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Hathor at Deir el-Medina," in Carol A. Redmount and Deanna Kiser-Go's
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A. Keller, U.C. Berkeley Publications in Egyptian Archeology, Atlanta:
Lockwood Press. In press.
Heels of the Wandering Goddess: The Myth and the Festival at the Temples of
the Wadi el-Hallel and Dendera," in Monika Dolinska and Horst Beinlich's
Ägyptologische Tempeltagung: Beziehungen zwischen Tempeln, Königtum,
Staat und Gesellschaft Früher Hochkulturen 3,3. Wiesbaden, Harrassowitz
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"The Amduat and its
Relationship to the Architecture of Early 18th Dynasty Royal Burial Chambers,"
in Journal of the American Research Center in Egypt (JARCE), Vol. 44,
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Marriage Contract: Papyrus Stanford Green Demotic 43," in Mark Depauw,
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content © 2017 Barbara A. Richter. All Rights Reserved.
period witnessed an enormous increase in the number of hieroglyphic signs
and iconographic elements (composite crowns, scepters, and cult objects).
The ancient scribes exploited this complexity when composing the reliefs used
in temple decoration, selecting particular words, hieroglyphic signs, and
iconographic elements in order to create interconnected multiple layers of
meaning, forming a tapestry of sound and sight. The Theology of Hathor of
Dendera examines these techniques on both micro- and macro-levels, from their
smallest details to their broadest thematic connections, foregrounding individual
techniques to determine the words and phrases singled out for emphasis. By
synthesizing their use in the three-dimensional space of the most important
cult chamber in the Temple of Hathor at Dendera, this new method of analysis
not only reveals the most essential characteristics of the local theology,
but also shows how the ancient scribes envisioned the universe and the place
of humankind within it.