Papers by Kelly-Anne Diamond
JSSEA 48, 2021
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Near Eastern Archaeology, 2021
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His Good Name
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The Journal of Egyptian Archaeology, 2022
This paper explores the items of dress worn by King Sobekneferu on statue E 27135 in the Musée du... more This paper explores the items of dress worn by King Sobekneferu on statue E 27135 in the Musée du Louvre. This statue is unique in comparison to her other known statues because it is the only one where she wears both feminine and masculine dress items. Sobekneferu’s combination of dress items coalesces in an ensemble that shapes, performs and displays her gender, divinity, communality, profession and class simultaneously. Through an analysis of her sartorial choices, we can better understand how Sobekneferu satisfied both her individual identity and her group identity in interacting with her subjects. This paper demonstrates how her dress had the power to communicate and inform the public through its materiality. Sobekneferu’s sartorial choices enabled her to craft visibly an authoritative image of herself as king. This image responded to the gendered expectation of kingship which was invoked through the masculinity her statue produced.
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Journal of the American Research Center in Egypt
Susan Tower Hollis, Five Egyptian Goddesses: Their Possible Beginnings, Actions, and Relationship... more Susan Tower Hollis, Five Egyptian Goddesses: Their Possible Beginnings, Actions, and Relationships in the Third Millennium BCE. London: Bloomsbury, 2020. Bloomsbury Egyptolo- gy. ISBN 978-1-4742-3425-2. Pp. XV + 216, numerous black and white illustrations. £90.
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ARCE Bulletin 195, 2009
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Gender & History, 2020
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JSSEA 44, 2017
With the discovery of King Tut's tomb in 1922 by Howard Carter and Lord Carnarvon, all things Egy... more With the discovery of King Tut's tomb in 1922 by Howard Carter and Lord Carnarvon, all things Egyptian permeated the 1920s and 30s. Egyptomania became a western phenomenon (again), manifesting in many areas such as art and architecture. Even Carr (1906-1977), wrote two particular detective stories that utilize Egyptian symbolism: The Lost Gallows (1931) and The Curse of the Bronze Lamp (1945). Carr is notorious for writing about the supernatural in his novels, or mixing the genre of detection and horror. In these cases the variety of supernaturalism he employs is Egyptology. Interestingly enough, Egyptology is used to marginalize two of his male characters, those who are already Alim Bey, respectively, are modern Egyptians connected to the mysteries of ancient Egypt through their study of ancient Egyptian religion and magic. Stylistically, this invocation is useful as it generates a red herring that detracts the reader's attention away from the real criminals, thus creating a variation on the "impossible crime," (The Lost Gallows) and Sir Henry Merrivale (The Curse of the Bronze Lamp) prove that the supernatural, ancient Egyptian religion and magic, is not the culprit and they solve the real crime and restore order and justice to the world. Simultaneously, these revelations expose Résumé: Lord Carnarvon, la culture des années 1920 et 1930 se voit imprégnée de motifs égyptiens. L'égyptomanie devint (encore une fois) un phénomène du monde occidental se manifestant dans divers domaines tels que l'art et l'architecture. Même les romans policiers sont deux romans à symbolisme égyptien : (The Lost Gallows, 1931) et L'habit fait le moine (The Curse of the Bronze Lamp, 1945). Carr est célèbre pour l'inclusion du surnaturel dans ses romans ainsi que le mélange de genres littéraires comme la détection et l'horreur dans
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Hindsights, 2019
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JSSEA, 2017
In the course of my research on ancient Egyptian funerary ritual, I encountered the word dmD(y)t ... more In the course of my research on ancient Egyptian funerary ritual, I encountered the word dmD(y)t in four ancient sources. In an attempt to discover the meaning of this word I realized that it had been grouped, along with a number of other female titles, into a category of words, which apparently signified, "a mourning woman." However, upon further investigation a more precise meaning of the word dmd(y)t became clear. In the cult drama, this woman (or women) was responsible for collecting the bones of the deceased in order for the body to become whole again in anticipation of its rebirth in the Afterlife. Therefore, the title dmd(y)t may be translated as "bone or limb collector." The title dmd(y)t refers to one of the dramatis personae in the early funerary cult drama. The term can be used in the singular and the plural and is derived from the root dmd "to collect or gather." The dmd(y)t is not part of the Osirian cult drama and her presence seems to predate the superimposition of the Osirian characters, namely, in a funerary liturgy that may date back as early as the Third Dynasty. However, by the Fifth Dynasty there is evidence that the root dmd was directly associated with the reconstruction of Osiris' body. The practice of dismemberment and the concept of rebirth through reconstruction existed even earlier. Résumé: Au cours de ma recherche sur le rituel funéraire égyptien, j'ai trouvé dans quatre sources anciennes le mot dmd(y)t. Tentant d'élucider le sens de celui-ci, j'ai réalisé qu'il était regroupé avec d'autres titres féminins dans une catégorie de mots qui semblait signifier 'femme en deuil'. Cependant, après des recherches plus approfondies, j'ai compris le sens spécifique du mot dmd(y)t. Dans le drame cultuel, cette femme (ou ces femmes) avait la responsabilité de collecter les ossements du défunt afin que le corps puisse redevenir entier, anticipant sa renaissance dans l'Au-delà. Ainsi, le titre dmd(y)t pourrait être traduit par « ramasseuse d'ossements ou de membres » Le titre dmd(y)t fait référence à l'une des dramatis personae du drame cultuel funéraire plus ancien. Le mot peut être utilisé au singulier et au pluriel, et dérive de la racine dmd "ramasser ou rassembler". La dmd(y)t ne fait pas partie du drame cultuel osirien et sa présence semble précéder la surimposition des personnages osiriens, à savoir une liturgie funéraire datant possiblement d'avant la III e dynastie. Cependant, à la V e dynastie, il est attesté que la racine dmd était directement associée avec le rassemblement du corps d'Osiris. La pratique du démembrement et le concept de renaissance par rassemblement existait cependant bien avant.
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Hindsights, 2019
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The title dmD(y)t refers to one of the dramatis personae in the early funerary cult drama, who he... more The title dmD(y)t refers to one of the dramatis personae in the early funerary cult drama, who helps with the transfiguration of the deceased in terms of the collecting and reassembling of the deceased's bones or limbs. This term can be used in the singular and the plural and is derived from the root dmD " to collect or gather. " The title dmD(y)t may be translated as " bone or limb collector. " By the Fifth Dynasty there is evidence that the root dmD was directly associated with the reconstruction of Osiris' body, yet the dmD(y)t is not part of the Osirian cult drama. Her presence may predate the su-perimposition of the Osirian characters, but there appears to be a clear association between the function of the dmD(y)t and the function of the goddess Isis in the Osirian myth. Did the canonization of this myth lead to Isis taking over the dmD(y)t's function in the transfiguration of the deceased? Following the myth-ritual school, is the Osirian myth attempting to explain the role of the dmD(y)t in the funerary service by superimposing Isis? In light of more recent research on myth structure and development, following the work of Dr. Katja Goebs, this work attempts to contextualize the use of the dmD(y)t-character in ritual texts and illustrations. In an effort to pinpoint the mythical relationship and the structural relationship of the actors/objects, I endeavor to understand what makes the use of the dmD(y)t " myth " efficacious for the user.
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In the course of my doctoral research on ancient Egyptian funerary ritual, and in particular on t... more In the course of my doctoral research on ancient Egyptian funerary ritual, and in particular on the word HAi, I encountered the word dmD(y)t in three ancient sources. In an attempt to discover the meaning of this word I realized that it had been grouped, along with a number of other titles, into a category of words which apparently signified, " a mourning woman. " However, upon further investigation I became aware of the specific meaning of the word dmD(y)t. In the cult drama, this woman (or women) was responsible for collecting the bones of the deceased in order for the body to become whole again in anticipation of its rebirth in the Afterlife. Therefore, the title dmD(y)t may be translated as " bone or limb collector. " It was initially thought by Gardiner, and followed by Faulkner, that the dmD(y)t was related to the dmDw. The word dmDw is commonly translated as " crowd " and is far more common. 1 In his dictionary entry Faulkner cites examples of dmD(y)t only from a funerary text from the Ramesseum Papyri (discussed below). 2 The entry for the word dmD(y)t in Wb V 462, 12 reads " von der Klagefrau. " The Belegstellen lists two references from the tomb of Amenemhet (TT 82) where the title refers to a single woman (also discussed below). In the former source, the funerary liturgy, this designation is used both in the singular, dmD(y)t, and in the plural, dmD(y)wt. According to Gardiner, the word dmD(y)t also refers to a crowd and is " possibly identical with the collective Wb V 461, 12 " — there transliterated dmD.wt. 3 Gardiner's assumption is based on the word's supposed connection with dmDw and its reference to a crowd of people. With that, Gardiner points out that Coffin
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This article is the culmination of my dissertation research although here it is in summary form. ... more This article is the culmination of my dissertation research although here it is in summary form. The word HAi has been commonly translated as " mourn " as it regularly appears in a funerary setting. However, some translators acknowledge that the anomalous meaning " to dance and /or sing " at a funeral is another possible meaning. The issue arises over the A 28 determinative that accompanies the word HAi. This same determinative is used to write the word Hai " rejoice. " This fact renders the two words (HAi and Hai) similar both visually and aurally, a purposeful ancient construct. The earliest known private source containing the word HAi is the tomb of Debehni at Giza, which dates to the Fourth Dynasty. The Pyramid Texts also present various royal examples of this word beginning at the end of the Fifth Dynasty. My research has demonstrated that HAi can no longer be classified as a mourning word. The ritual of HAi refers to the uplifting (or transforming) of the deceased's spirit to the Hereafter. The significance of the A 28 determinative lies in the idea of the elevation of the spiritual essence toward heaven which actuated the resurrection of the deceased. Résumé: Cet article se voit être l'aboutissement de ma recherche de thèse, présentée ici en abrégé. Apparaissant régulière-ment en contexte funéraire, le mot « HAi » est habituellement traduit par « être en deuil ». Cependant, certains traduc-teurs reconnaissent la traduction irrégulière « danser et / ou chanter » à des funérailles comme étant aussi possible. Le problème repose sur le déterminatif A28 qui accompagne le mot HAi : ce même déterminatif est aussi utilisé dans le mot Hai, qui signifie « se réjouir ». Ainsi, ces deux mots (HAi et Hai) se ressemblent autant au point de vue visuel que sonore—un concept ancien bien réfléchi. Le plus ancien texte privé faisant mention du mot HAi se trouve dans la tombe de Debehni à Gizeh, un monument qui date de la quatrième dynastie. Plusieurs exemples de source royale se trouvent dans les textes des pyramides, remontant à la fin de la cinquième dynastie. Les résultats de ma recherche démontrent que HAi ne peut plus être considéré comme un mot relié au deuil. En fait, le rituel HAi évoque la montée (ou la transformation) de l' esprit du défunt vers l' Au-delà. Le sens du déterminatif A28 repose dans l'idée de l'ascension de l' essence spirituelle vers les cieux, ce qui entraîne la résurrection du mort.
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Conference Presentations by Kelly-Anne Diamond
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Papers by Kelly-Anne Diamond
Conference Presentations by Kelly-Anne Diamond