Papers by Caroline Hubschmann
Hubschmann, C. 2010. 'Igai: a little-known deity of Dakhleh Oasis, Egypt'. Rosetta 8: 42-... more Hubschmann, C. 2010. 'Igai: a little-known deity of Dakhleh Oasis, Egypt'. Rosetta 8: 42-61. http://rosetta.bham.ac.uk/issue8/articles/hubchmann-iagi.pdf Abstract The scarcity of artefacts and documents attesting the cult Igai justify his classification as one of the more enigmatic deities of the ancient Egyptian pantheon. Nevertheless, his identification as 'Lord of the Oasis' and the presence of his name on artefacts from Dakhleh Oasis, demonstrates the importance of his cult in this region of the Western Desert of Egypt. This article documents the artefacts of the cult of Igai and, via comparison to other deities venerated in the Western Desert, hypothesises the likely aetiology of this god.
This article examines how museums and archaeologists present ancient Egypt to the public. For arc... more This article examines how museums and archaeologists present ancient Egypt to the public. For archaeology, the role of the museum is extremely significant as it is the most popular forum through which non-specialists interact with the discipline. But how often do archaeologists and Egyptologists consider the manner in which the public consumes antiquity? There is a persistent and continuing tension to develop a balance between the popular and accurate notions of ancient Egypt. Museums are a voice of authority and legitimacy; when ancient Egypt is exhibited and interpreted it must satisfy the curious fascination, while also allowing for the development of archaeological literacy. The former ensures people will visit the exhibition while the latter allows them to understand the content on a contextual and cultural level. Archaeologists must care how their discipline is perceived so that the audience can comprehend the fruits of the labour beyond that which is popularly ‘known’. The contemporary and future role of museology and Egyptian antiquities will also be discussed concerning the risk heritage places face in a world beset by conflict.
The Bulletin of the Australian Centre for Egyptology, 2006
The Bulletin of the Australian Centre for Egyptology, 2010
Papers from the Institute of Archaeology (PIA): University College London, 2010
A variety of textual and pictorial sources demonstrate that the inhabitants of Dakhleh Oasis were... more A variety of textual and pictorial sources demonstrate that the inhabitants of Dakhleh Oasis were considered different from the people who lived in the Nile Valley. The archaeological profile of this oasis, however, displays nothing that is identifiable as non-Egyptian. This paper discusses why such an evidentiary inconsistency exists by examining contextual issues that contribute to the manifestation of identity in the archaeological record. Current theories on the identification of ancient identities are adapted to what is known of Dakhleh Oasis to demonstrate that the lack of non-Egyptian material culture does not necessarily equate to a population in Dakhleh Oasis that is homogeneous with the Nile Valley.
Rosetta: Papers of the Department of Classics, Ancient History and Archaeology at the University of Birmingham, 2010
The scarcity of artefacts and documents attesting the cult Igai justify his classification as one... more The scarcity of artefacts and documents attesting the cult Igai justify his classification as one of the more enigmatic deities of the ancient Egyptian pantheon. Nevertheless, his identification as ‘Lord of the Oasis’ and the presence of his name on artefacts from Dakhleh Oasis, demonstrates the importance of his cult in this region of the Western Desert of Egypt. This article documents the artefacts of the cult of Igai and, via comparison to other deities venerated in the Western Desert, hypothesises the likely aetiology of this god.
Journal of the American Research Centre in Egypt, 2010
This paper examines the evidentiary inconsistency between Egyptian textual sources which indicate... more This paper examines the evidentiary inconsistency between Egyptian textual sources which indicate
a Libyan presence in Dakhleh Oasis during the Third Intermediate Period, and the archaeological
data which demonstrates no discernible evidence of a non-Egyptian presence. This is accomplished
by investigating contextual issues that contribute to the manifestation of identity in the archaeological
record. Current theories on the identification of ancient identities are adapted to what is known
of Dakhleh Oasis to demonstrate that the lack of non-Egyptian material culture does not equate to
acculturation nor the absence of Libyans in the oasis population.
Conference Presentations by Caroline Hubschmann
Presented at the Ninth International Congress of the Dakhleh Oasis Project, Prato, June 2018.
Material culture has acted as a cornerstone attraction for visitors to public museums and art gal... more Material culture has acted as a cornerstone attraction for visitors to public museums and art galleries since their inception.
The manner in which this is displayed and interpreted determines significantly how the visitor ascribes meaning to the artefacts and the peoples who created them.
Both the Secret lives, forgotten stories: highlights from Heritage Victoria’s archaeological collection exhibition at the Ian Potter Museum of Art in Melbourne, and the Our Peoples: giving voice to our histories exhibition at the Smithsonian National Museum of the American Indian (NMAI), display artefacts obtained by archaeological means in a predominantly aesthetic fashion.
When museums choose to use such items it is imperative that their integrity is not compromised nor their context misunderstood, no matter the overarching meta or multiple narratives of the exhibition display.
There must be the desire to communicate the inherently interpretive process of archaeology and its tangible and relevant nature.
Book Reviews by Caroline Hubschmann
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Papers by Caroline Hubschmann
a Libyan presence in Dakhleh Oasis during the Third Intermediate Period, and the archaeological
data which demonstrates no discernible evidence of a non-Egyptian presence. This is accomplished
by investigating contextual issues that contribute to the manifestation of identity in the archaeological
record. Current theories on the identification of ancient identities are adapted to what is known
of Dakhleh Oasis to demonstrate that the lack of non-Egyptian material culture does not equate to
acculturation nor the absence of Libyans in the oasis population.
Conference Presentations by Caroline Hubschmann
The manner in which this is displayed and interpreted determines significantly how the visitor ascribes meaning to the artefacts and the peoples who created them.
Both the Secret lives, forgotten stories: highlights from Heritage Victoria’s archaeological collection exhibition at the Ian Potter Museum of Art in Melbourne, and the Our Peoples: giving voice to our histories exhibition at the Smithsonian National Museum of the American Indian (NMAI), display artefacts obtained by archaeological means in a predominantly aesthetic fashion.
When museums choose to use such items it is imperative that their integrity is not compromised nor their context misunderstood, no matter the overarching meta or multiple narratives of the exhibition display.
There must be the desire to communicate the inherently interpretive process of archaeology and its tangible and relevant nature.
Book Reviews by Caroline Hubschmann
a Libyan presence in Dakhleh Oasis during the Third Intermediate Period, and the archaeological
data which demonstrates no discernible evidence of a non-Egyptian presence. This is accomplished
by investigating contextual issues that contribute to the manifestation of identity in the archaeological
record. Current theories on the identification of ancient identities are adapted to what is known
of Dakhleh Oasis to demonstrate that the lack of non-Egyptian material culture does not equate to
acculturation nor the absence of Libyans in the oasis population.
The manner in which this is displayed and interpreted determines significantly how the visitor ascribes meaning to the artefacts and the peoples who created them.
Both the Secret lives, forgotten stories: highlights from Heritage Victoria’s archaeological collection exhibition at the Ian Potter Museum of Art in Melbourne, and the Our Peoples: giving voice to our histories exhibition at the Smithsonian National Museum of the American Indian (NMAI), display artefacts obtained by archaeological means in a predominantly aesthetic fashion.
When museums choose to use such items it is imperative that their integrity is not compromised nor their context misunderstood, no matter the overarching meta or multiple narratives of the exhibition display.
There must be the desire to communicate the inherently interpretive process of archaeology and its tangible and relevant nature.