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Content (media)
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It has been suggested that digital content be merged into this article. (Discuss) Proposed since February 2017.
In publishing, art, and communication, content is the information and experiences that are directed towards an end-user or audience.[1] Content is "something that is to be expressed through some medium, as speech, writing or any of various arts".[2] Content can be delivered via many different media including the Internet, cinema, television, smartphones, audio CDs, books, e-books, magazines, and live events, such as speech, conferences and stage performances.
Contents
[hide]
1 Content value
2 Technological effects on content
3 Criticism
4 See also
5 References
Content value[edit]
Content itself is what the end-user derives value from. Thus, "content" can refer to the information provided through the medium, the way in which the information was presented, as well as the added features included in the medium in which that information was delivered. The medium, however, provides little to no value to the end-user without the information and experiences that make up the content. Communication theory philosopher Marshall McLuhan famously coined the phrase, "The medium is the message."[3] In the case of content, the channel through which information is delivered, the "medium", affects how the end user perceives content, the "message".
The author, producer, or publisher of an original source of information or experiences may or may not be directly responsible for the entire value that they attain as content in a specific context. For example, part of an original article (such as a headline from a news story) may be rendered on another web page displaying the results of a user's search engine query grouped with headlines from other news publications and related advertisements. The value that the original headline has in this group of query results from the search engine as a medium may be very different from the value that it had as message content in its original article.
Content also leads to influencing other people in creating their own content, sometimes in a way that the original author did not or could not plan or imagine. This feature, adding the option of user innovation in a medium, means that users can develop their own content from existing content.
Technological effects on content[edit]
Traditionally, content was edited and tailored for the public through news editors, authors, and other kinds of content creators. However, not all information content requires creative authoring or editing. Through recent technological developments, truth is found in philosopher Marshall McLuhan's idea of a global village; new technologies allow for instantaneous movement of information from every corner to every point at the same time[4] has caused the globe to be contracted into a village by electric technology,[5] such as smartphones and automated sensors. These new technologies can record events anywhere for publishing and converting in order to potentially reach a global audience through various internet channels such as YouTube. Such recorded or transmitted information and visuals can be referred to as content. Content is no longer a product of only reputable sources; new technology has made primary sources of content more readily available to all. For example, a video of a politician giving a speech compared to an article written by a reporter who witnessed the speech.
Media production and delivery technology may potentially enhance the value of content by formatting, filtering, and combining original sources of content for new audiences with new contexts. The greatest value for a given source of content for a specific audience is often found through such electronic reworking of content as dynamic and real-time as the trends that fuel its interest. Less emphasis on value from content stored for possible use in its original form, and more emphasis on rapid re-purposing, reuse, and redeployment has led many publishers and media producers to view their primary function less as originators and more as transformers of content. Thus, one finds out that institutions, that used to focus on publishing printed materials, are now publishing both databases and software to combine content from various sources for a wider variety of audiences.
Criticism[edit]
While marketing and media interests have broadly adopted the term "content", some writers complain about the term's inherent ambiguity.[6] Others assert that the term devalues the work of authors or sets up a false analogy of information as material objects which biases any discussion using the word,[7][8] and still others argue that it overemphasizes the work of authors.[9]
See also[edit]
Advertising
Authoring
Content farm
Content management
Content management system
Content writing services
Enterprise content management
Geotargeting
Media transparency
Web content
Web content management system
Open content
Free content
User-generated content
Content format
Content adaptation
Content designer
Marshall McLuhan
The medium is the message
Global village
References[edit]
Jump up ^ Odden, Lee (2013), "What is Content? Learn from 40+ Definitions", TopRank Online Marketing Blog, Retrieved 2014-02-20
Jump up ^ http://dictionary.reference.com/browse/content
Jump up ^ McLuhan, Understanding Media: The Extensions of Man (MIT Press, 1964, 1994) p. 7.
Jump up ^ McLuhan, Marshall. Letters of Marshall McLuhan. (Oxford University Press, 1987) p254.
Jump up ^ McLuhan, Marshall. Understanding Media. (Gingko Press, 1964, 2003) p6.
Jump up ^ Bowie, Adam (2009-11-22). "You See - This Is Why I Hate The Word "Content"". adambowie.com. Retrieved 2012-02-18.
Jump up ^ "Words to Avoid (or Use with Care) Because They Are Loaded or Confusing - GNU Project - Free Software Foundation (FSF)". Gnu.org. 2012-01-31. Retrieved 2012-02-18.
Jump up ^ "Jonathan Salem Baskin's Dim Bulb: I Hate the Word "Content"". Dimbulb.net. 2010-05-10. Archived from the original on 2011-05-10. Retrieved 2012-02-18.
Jump up ^ "Why I hate the word Content - Because you meant to say product. - the little bits of BIG pictures - Site Home - MSDN Blogs". Blogs.msdn.com. 2007-11-18. Retrieved 2012-02-18.
Library resources about
Content media
Resources in your library
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Order of Mass
From Wikipedia, the free encyclopedia
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This article is about the Order of Mass. For the Ordinarium parts of the Mass, see Mass ordinary.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2009) (Learn how and when to remove this template message)
Order of Mass is an outline of a Mass celebration, describing how and in what order liturgical texts and rituals are employed to constitute a Mass.
The expression Order of Mass is particularly tied to the Roman Rite where the sections appearing under that title in the Roman Missal also contain a set of liturgical texts that recur in most or in all Eucharistic liturgies (the so-called invariable texts, or ordinary of the Mass), while the rubrics indicate the rituals, and the insertion points of the variable texts known as the proper of the Mass. Having been virtually unchanged for many centuries, the Roman Catholic Order of Mass changed decisively after the Second Vatican Council.
Other Christian denominations have comparable descriptions of their liturgical practices for the Eucharist, which are however usually not called Order of Mass.
Contents
[hide]
1 Sections of the Order of Mass
1.1 Ordinarium
1.2 Proprium
2 Roman Rite
2.1 Pre-Tridentine Mass
2.2 Tridentine Mass
2.3 Mass of Paul VI
3 Other denominations
3.1 Byzantine Rite
3.2 Anglicanism
3.3 Lutheranism
4 References
Sections of the Order of Mass[edit]
The Order of Mass in Western liturgy generally consists of the following sections:
The Prayers at the Foot of the Altar or the Penitential Rite.
Kyrie eleison ("Lord, have mercy").
Gloria ("Glory to God in the highest").
The prayers said in connection with the scripture readings.
Credo ("I believe in one God"), the Nicene Creed.
The Offertory prayers.
The Canon of the Mass, or Eucharistic Prayer, with its opening dialogue and its Preface, the latter of which, in spite of being variable, is included in the ordinary.
(Included in the preceding:) Sanctus ("Holy, Holy, Holy"), the second part of which, beginning with the word "Benedictus" ("Blessed is he"), was often sung separately after the consecration, if the setting was long.
The Lord's Prayer and the following prayers until the distribution of Holy Communion
(Included in the preceding:) Agnus Dei ("Lamb of God").
The prayer said at the cleansing of the chalice, and the concluding prayers, which in the Tridentine Mass included the reading of what was called the Last Gospel (usually, the first fourteen verses of Saint John's Gospel) as a farewell blessing.
(Included in the preceding:) The phrase Ite, missa est "Go, it is the dismissal" (referring to the congregation) is the final part of the Order of Mass. In the Tridentine Mass, it was followed by a private prayer that the priest said silently for himself, by the final blessing, and by the reading of the Last Gospel (usually John 1:1-14), and in some Masses it was replaced by Benedicamus Domino or Requiescant in pace. These phrases are sung to music given in the Missal, as is the choir's response, Deo gratias or (after Requiescant in pace) Amen. In the Episcopal Church's Book of Common Prayer, the service ends with the celebrant saying, "Go in peace to love and serve the Lord." To which the congregation responds, "Thanks be to God."
Ordinarium[edit]
See also: Mass ordinary
The Kyrie eleison was traditionally sung in Greek, the others in Latin. Prior to the Council of Trent the Kyrie was frequently troped by adding texts particular to a specific feast day between the lines of the Kyrie; indeed English renaissance composers seem to have regarded the Sarum rite Kyrie as part of the propers and begin their mass settings with the Gloria. These tropes were essentially texts.
Until the 1970 revision of the Roman Missal, the Agnus Dei was modified for Requiem Masses, and prayed not miserere nobis (have mercy on us) and dona nobis pacem (grant us peace), but dona eis requiem (grant them rest) and dona eis requiem sempiternam (grant them eternal rest).
It was at one time popular to replace at a Solemn Mass the second half of the Sanctus (the Benedictus) with hymns such as the O Salutaris Hostia, or, at requiems, with a musical setting of the final invocation of the Dies Irae: "Pie Jesu Domine, dona eis requiem."[citation needed]
Proprium[edit]
See also: Proper (liturgy) § West
The texts of the Order of Mass other than the Ordinarium parts can be grouped as follows:
The Tridentine-Mass Prayers at the Foot of the Altar or, post-1970, the Penitential Rite.
The prayers said in connection with the Scripture readings.
The Offertory prayers.
The Canon of the Mass, or Eucharistic Prayer, with its opening dialogue and its Preface, the latter of which, in spite of being variable, is included in the Order of Mass.
The Our Father and the following prayers, leading to the priest's communion, to which since 1970 is added the communion of the people, previously not part of the Order of Mass. (The prescribed rite for the distribution of Communion – which Pope John XXIII shortened slightly by omission of the Confiteor and Absolution – was often printed within or after the Order of Mass in missals for use by the faithful, but not in the Roman Missal of the time.)
The prayer said at the cleansing of the chalice, and the concluding prayers, which in the Tridentine Mass included the reading of what was called the Last Gospel (usually, the first fourteen verses of Saint John's Gospel) as a farewell blessing.
Within these six groupings, there are short phrases (e.g. "Dominus vobiscum" and "Et cum spiritu tuo") that in Tridentine Solemn Mass were sung by priest or deacon and by the choir. If sung in the post-Tridentine form of Mass, the response is usually given by the whole congregation.
Roman Rite[edit]
In the Roman Missal, the Order of Mass is printed as a distinct section placed in the middle of the book, between the Mass of the Easter Vigil and that of Easter Sunday in pre-1970 editions, and between the Proper of the Seasons and the Proper of the Saints thereafter.
In a Catholic tradition Order of Mass (Latin: Ordo Missae) is sometimes used as a synonym of Ordinary of the Mass (Ordinarium Missae),[1] but the last expression usually rather refers to the Ordinarium parts of the Mass, i.e. the Mass ordinary, the set of texts of the Roman Rite Mass that are generally invariable. This contrasts with the proper (proprium), which are items of the Mass that change with the feast or following the Liturgical Year.
Pre-Tridentine Mass[edit]
See also: Pre-Tridentine Mass § Comparison of the Mass, c. 400 and 1000 AD
Before the Roman Missal of 1570 the Order of Mass was less uniform but by 1000 AD many sections of the Tridentine Mass were already established as part of the Mass.
Tridentine Mass[edit]
See also: Tridentine Mass § Liturgical structure
The Order of Mass for the Tridentine Mass appears in Roman Missals from 1570, until it was replaced by the Order of Mass as published in the Roman Missal of 1970.
Mass of Paul VI[edit]
See also: Mass of Paul VI § Changes in the Order of Mass
Many prayers have been shortened and/or alternative versions of texts of the ordinary can be chosen.
Other denominations[edit]
Much of the ordinary of the Eucharist is common to Western liturgical Christian denominations, but quite different from that of Eastern Christianity.
Byzantine Rite[edit]
In the Byzantine Rite the Eucharist is called Divine Liturgy, which has several versions, with the Divine Liturgy of St. John Chrysostom coming closest to an equivalent of the Order of Mass in the Western traditions.
Anglicanism[edit]
Traditionally, In Anglicanism the Book of Common Prayer is the guide for liturgical practices regarding the Eucharist, for instance having the Gloria near the end of the Service in some editions.
However various revisions have taken place throughout the Anglican Communion during the 20th and 21st Century, with most provinces creating a liturgy with a close resemblance to the western tradition. For example, until the retranslation of the Roman Catholic English Order of the Mass, the Church of England Common Worship liturgy was almost identical to the Roman Catholic Ordo except for some differences in wording in the Eucharistic prayers, though with the substantive elements identical the notable difference being that the peace follows the intercessions, not the Eucharistic Prayer.[2]
Lutheranism[edit]
Martin Luther's 1523 Formula missae and his 1526 Deutsche Messe form the base of the Order of Mass in Lutheran liturgical practice.
References[edit]
Jump up ^ The first printing of the Tridentine Roman Missal used the term Ordinarium Missae (Missale Romanum ex Decreto Sacrosancti Concilii Tridentini restitutum Pii V. Pont. Max. editum Apud haeredes Bartholomaei Faletti, Ioannem Varisei et socios, Roma 1570. Facsimile: Manlio Sodi, Antonio Maria Triacca, Missale Romanum. Editio princeps (1570), Libreria Editrice Vaticana, Città del Vaticano 1998, ISBN 88-209-2547-8), but in later editions Ordo Missae in more classical Latin was used. "Order of Mass", rather than "Ordinary of the Mass", is the official term for English-speaking Catholics, in both the 1973 translation of the Roman Missal and in the revised translation that in most English-speaking countries will be brought into use on the First Sunday in Advent in 2011 (see The Order of Mass).
Jump up ^ https://www.churchofengland.org/prayer-worship/worship/texts/introduction/litrevis.aspx
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text:
We Wish You a Merry Christmas
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see We Wish You a Merry Christmas (disambiguation).
We Wish You a Merry Christmas
Genre
Christmas
Language
English
Instrumental version of Kevin MacLeod
"We Wish You a Merry Christmas" is a popular English Christmas carol from the West Country of England.
Contents
[hide]
1 History
1.1 Origin
2 Lyrics
2.1 Version 1
2.2 Version 3
2.3 Version 4
3 See also
4 References
History[edit]
The Bristol-based composer, conductor and organist Arthur Warrell[1] is responsible for the popularity of the carol. Warrell arranged the tune for his own University of Bristol Madrigal Singers, and performed it with them in concert on December 6, 1935.[2] That same year, his elaborate four-part arrangement was published by Oxford University Press, under the title "A Merry Christmas: West Country traditional song".[3]
Warrell's arrangement is notable for using "I" instead of "we" in the words; the first line is "I wish you a Merry Christmas". It was subsequently republished in the collection Carols for Choirs (1961), and remains widely performed.[4]
The earlier history of the carol is unclear. It is absent from the collections of West-countrymen Davies Gilbert (1822 and 1823)[5] and William Sandys (1833),[6] as well as from the great anthologies of Sylvester (1861)[7] and Husk (1864).[8] It is also missing from The Oxford Book of Carols (1928). In the comprehensive New Oxford Book of Carols (1992), editors Hugh Keyte and Andrew Parrott describe it as "English traditional" and "[t]he remnant of an envoie much used by wassailers and other luck visitors"; no source or date is given.[9]
Origin[edit]
The greeting "a merry Christmas and a happy New Year" is recorded from the early eighteenth century.[10] The English custom of performing inside or outside homes in return for food and drink is illustrated in the short story The Christmas Mummers (1858) by Charlotte Yonge, in which a group of boys run to a farmer's door and sing:
I wish you a merry Christmas
And a happy New Year,
A pantryful of good roast-beef,
And barrels full of beer.[11]
After they are allowed in and perform a Mummers play, the boys are served beer by the farmer's maid.[12]
Another example is recorded in 1883, from the villages of Burford, Church Stretton and Worthen in the English county of Shropshire:
I wish you a merry Christmas, a happy New Year,
A pocket full of money, and a cellar full of beer;
A good fat pig to last you all the year.
Please to give me a New Year's gift.[13]
The origin of this Christmas carol lies in the English tradition wherein wealthy people of the community gave Christmas treats to the carolers on Christmas Eve, such as "figgy pudding" that was very much like modern-day Christmas puddings.[14][15][16] A variety of nineteenth-century sources state that, in the West Country of England, "figgy pudding" referred to a raisin or plum pudding, not necessarily one containing figs.[17][18][19]
Lyrics[edit]
We wish you a merry Christmas,
We wish you a merry Christmas,
We wish you a merry Christmas
And a happy New Year.
Good tidings we bring
To you and your kin;
We wish you a merry Christmas
And a happy New Year!
2
Oh, bring us some figgy pudding,
Oh, bring us some figgy pudding,
Oh, bring us some figgy pudding,
And bring it right here.
Good tidings we bring
To you and your kin;
We wish you a merry Christmas
And a happy New Year!
3
We won't go till we get some,
We won't go till we get some,
We won't go till we get some,
So bring it right here.
Good tidings we bring
To you and your kin;
We wish you a merry Christmas
And a happy New Year!
4
We all like our figgy pudding,
We all like our figgy pudding,
We all like our figgy pudding,
With all its good cheers
Good tidings we bring
To you and your kin
We wish you a merry Christmas
And a happy New Year.
We wish you a merry Christmas
We wish you a merry Christmas
We wish you a merry Christmas
And a happy New Year!
Version 1[edit]
Chorus:
We wish you a Merry Christmas
We wish you a Merry Christmas
We wish you a Merry Christmas
And a Happy New Year!
Good tidings we bring
To you and your kin
We wish you a Merry Christmas
And a Happy New Year!
We wish you a Merry Christmas
We wish you a Merry Christmas
We wish you a Merry Christmas
And a Happy New Year!
(Some versions use "glad tidings" instead of "good tidings"[20])
Now bring us some figgy pudding,
Now bring us some figgy pudding,
Now bring us some figgy pudding,
And bring some out here
REFRAIN
For we all like figgy pudding,
We all like figgy pudding,
For we all like figgy pudding,
So bring some out here
REFRAIN
And we won't go until we've got some
We won't go until we've got some
We won't go until we've got some
So bring some out here
REFRAIN
Version 3[edit]
We wish you a Merry Christmas
We wish you a Merry Christmas
We wish you a Merry Christmas
and a Happy New Year.
REFRAIN
Good tidings we bring for you and your kin,
Good tidings for Christmas and a Happy New Year.
Oh bring us some figgy pudding (x3)
and bring it right here.
REFRAIN
And we won't go until we've got some (x3)
so bring some out here.
REFRAIN
It's a season for music (x3)
and a time of good Cheer.
REFRAIN
Version 4[edit]
We wish you a Merry Christmas
We wish you a Merry Christmas
We wish you a Merry Christmas
and a Happy New Year.
REFRAIN
Good tidings to you, where ever you are
Good Tidings at Christmas and a Happy New Year
(The first line of the refrain can also be rendered as "Good tidings we bring, to you of good cheer")
Now bring us some figgy pudding
Now bring us some figgy pudding
Now bring us some figgy pudding
and bring it right here
REFRAIN
now bring some tea and breakfast
now bring some tea and breakfast
now bring some tea and breakfast
and bring it right here
REFRAIN
Christmas time is coming,
Christmas time is coming
Christmas time is coming
It soon will be here
REFRAIN
See also[edit]
List of Christmas carols
Christmas carol
Christmas music
References[edit]
Jump up ^ Arthur Sydney Warrell, born Farmborough, 1883, died Bristol, 1939. Served as organist and choirmaster and several Bristol churches. Subsequently taught music at Bristol University and founded the Bristol University Choir, Orchestra, and Madrigal Singers. See Humphreys, Maggie; Robert Evans (1997). Dictionary of Composers for the Church in Great Britain and Ireland. London: Mansell. p. 351. ISBN 0-7201-2330-5.
Jump up ^ "Music and Drama". Western Daily Press and Bristol Mirror. Bristol. 154 (25,920): 4. 1935-12-06.
Jump up ^ Warrell, Arthur (arr.) (1935). A Merry Christmas. London: Oxford University Press. ISBN 019340530X.
Jump up ^ In the Carols for Choirs reprint, but not in the 1935 original, the option of replacing "I wish you a Merry Christmas" by the more common "We wish you a Merry Christmas" is given
Jump up ^ Gilbert, Davies (1822). Some ancient Christmas Carols, with the Tunes to which they were formerly sung in the West of England (PDF). London: J. Nichols and Son.
Jump up ^ Sandys, William (1833). Christmas Carols, Ancient and Modern. London: Richard Beckley.
Jump up ^ Sylvester, Joshua (ed.) (1861). A Garland of Christmas Carols, Ancient and Modern. London: John Camden Hotten. CS1 maint: Extra text: authors list (link)
Jump up ^ Husk, William Henry (ed.) Songs of the Nativity, London: John Camden Hotten, 1864.
Jump up ^ Keyte, Hugh; Parrott, Andrew, eds. (1992). The New Oxford Book of Carols. Oxford: Oxford University Press. p. 529.
Jump up ^ "a merry X'mas and a happy New Year", letter of Samuel Goodman dated December 20th 1710, in Letters to Fort St. George: vol. xii (1711). Madras: Government Press. 1931. p. 3.
Jump up ^ Yonge, Charlotte (1858). The Christmas Mummers. London: Mozley. p. 87.
Jump up ^ Yonge, Charlotte (1858). The Christmas Mummers. London: Mozley. p. 93.
Jump up ^ Burne, Charlotte Sophia (ed.) (1883). Shropshire Folk-Lore. London: Trübner & Co. p. 317. CS1 maint: Extra text: authors list (link)
Jump up ^ Brech, Lewis (2010). "Storybook Advent Carols Collection Songbook". p. 48. Couples Company, Inc,
Jump up ^ Lester, Meera (2007). "Why Does Santa Wear Red?: And 100 Other Christmas Curiousities Unwrapped" p.146. Adams Media,
Jump up ^ "We Wish You a Merry Christmas! - Christmas Songs of England". Retrieved December 11, 2010
Jump up ^ "A 'figgy pudding'; a pudding with raisins in it; a plum pudding", from "Devonshire and Cornwall Vocabulary", The Monthly Magazine vol. 29/6, no. 199, June 1, 1810. p. 435
Jump up ^ "Plum-pudding and plum-cake are universally called figgy pudding and figgy cake in Devonshire", from Lady, A (1837). A dialogue in the Devonshire dialect, by a lady: to which is added a glossary, by J.F. Palmer. London: Longman, Rees, Orme, Brown, Green, and Longman. p. 46.
Jump up ^ "Figgy Pudding ... the ordinary name for plum-pudding. Also a baked batter pudding with raisins in it", Elworthy, Frederic Thomas (1875). The Dialect of West Somerset. London: Trübner & Co. p. 252.
Jump up ^ e.g., http://michaelkravchuk.com/free-lead-sheet-merry-christmas/; accessed 2015-12-09
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text:
Upper and Lower Egypt
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Map of Lower and Upper Egypt
In Egyptian history, the Upper and Lower Egypt period (also known as The Two Lands, a name for Ancient Egypt during this time) was the final stage of its prehistory and directly preceded the nation's unification. The conception of Egypt as the Two Lands was an example of the dualism in ancient Egyptian culture and appeared frequently in texts and imagery, including in the titles of Egyptian kings and queens.
The Egyptian expression sema-tawy is usually translated as "The Uniter of the Two Lands" [1] and was depicted as a human trachea entwined with the papyrus and lily plant. The trachea stood for unification, while the papyrus and lily plant represent Lower and Upper Egypt.
Standard titles of a King of Egypt was King of Upper and Lower Egypt (written as nsw-bi.tj) [2] and Lord of the Two Lands (written as nb-tꜣwy). Similarly a Queen might use titles such as Lady of The Two Lands (nbt-tꜣwy), Mistress of the Entire Two Lands (hnwt-tꜣwy-tm), and Mistress of the Two Lands (hnwt-tꜣwy).[3]
Contents
[hide]
1 Structure
2 Sema Tawy and symbolism
3 See also
4 References
Structure[edit]
Pschent, the double crown of Egypt
Ancient Egypt was divided into two regions, namely Upper Egypt and Lower Egypt. To the north was Lower Egypt, where the Nile stretched out with its several branches to form the Nile Delta. To the south was Upper Egypt, stretching to Syene. The terminology "Upper" and "Lower" derives from the flow of the Nile from the highlands of East Africa northwards to the Mediterranean Sea.
The two kingdoms of Upper and Lower Egypt were united c. 3000 BC, but each maintained its own regalia: the hedjet or White Crown for Upper Egypt and the deshret or Red Crown for Lower Egypt. Thus, the pharaohs were known as the rulers of the Two Lands, and wore the pschent, a double crown, each half representing sovereignty of one of the kingdoms. Ancient Egyptian tradition credited Menes, now believed to be the same as Narmer, as the king who united Upper and Lower Egypt. On the Narmer Palette the king is depicted wearing the Red Crown in one scene and the White crown in another, and thereby showing his rule over both Lands.[4]
Sema Tawy and symbolism[edit]
Hapi tying the papyrus and reed plants in the sema tawy symbol for the unification of Upper and Lower Egypt
The union of Upper and Lower Egypt is depicted by knotted papyrus and reed plants. The binding motif represents both harmony through linkage and domination through containment. The duality is an important part of royal iconography. Sometimes the duality is further extended by having the knotted plants extend and bind foreign foes (both from the North and the South) as well.[4]
During the first dynasty dualistic royal titles emerge, including the King of Upper and Lower Egypt ( nsw-bi.tj) title which combines the plant representing Upper Egypt and a bee representing Lower Egypt. The other dualistic title is the Two Ladies name or Nebty name. The two ladies as Nekhbet, the vulture goddess associated with Hierakonpolis in Upper Egypt, and Wadjet, the cobra goddess associated with Buto in Lower Egypt.[4]
There are many depictions of the ritual unifications of the Two Lands. It is not known if this was perhaps a rite that would have been enacted at the beginning of a reign, or merely a symbolic representation. Many of the depictions of the unification show two gods binding the plants. Often the gods are Horus and Set, or on occasion Horus and Thoth. There are several examples of Barque stands from the reigns of Amenhotep III (Hermopolis), Taharqa (Gebel Barkal), and Atlanersa (Gebel Barkal) that show two river gods performing the rite. This matches a scene from the Temple at Abu Simbel from the time of Ramesses II.[5]
There are only a handful of scenes that show the King himself performing the ritual. All of these are from barque stands and date to the reigns of Amenhotep III, Sety I and Ramesses III. The latter two may be copies of the first one.[5]
The river god Hapi uniting Upper and Lower Egypt. Colossi of Memnon. Reign of Amenhotep III.
Temple scene at Luxor, Thebes
Alabaster Jar depicting the sema tawy symbol with Hapy. From the tomb of Tutankhamen.
Ramesses III at the temple of Khonsu. A rare scene showing the King performing the ritual.
Sema tawy (without deities) on the side of the throne of Khephren
See also[edit]
Wikimedia Commons has media related to Category:Sematawy.
Wikimedia Commons has media related to Category:Union symbol (hieroglyph).
Upper Egypt
Lower Egypt
Narmer
History of ancient Egypt
References[edit]
Jump up ^ Ronald J. Leprohon, The Great Name: Ancient Egyptian Royal Titulary,Society of Biblical Lit, 2013
Jump up ^ Abeer El-Shahawy, Farid S. Atiya, The Egyptian Museum in Cairo, American Univ in Cairo Press, 2005
Jump up ^ Grajetzki, Ancient Egyptian Queens: A Hieroglyphic Dictionary, Golden House Publications, London, 2005, ISBN 978-0954721893
^ Jump up to: a b c Wengrow, David, The Archaeology of Early Egypt: Social transformations in North-East Africa, 10,000 to 2650 B.C., Cambridge University Press, 2006
^ Jump up to: a b Rania Y. Merzeban, Unusual sm3 t3wy Scenes in Egyptian Temples, Journal of the American Research Center in Egypt, Vol. 44 (2008), pp. 41-71
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