This book is the first complete edition of a hieratic-demotic papyrus preserved to this day in the Kunsthistorisches Museum in Vienna. The papyrus dates back to the middle of the second century B.C. and contains a minute discription of a considerable part of the embalming and burial rites of the Apis, the sacred bull of the Egyptians. The Vienna papyrus is the only authentic document to give a coherent picture of the course of events during the embalming of the holy animal, adding substantially to what we know already from the Serapeum stelae and the classical writers. The book comprises a general introduction, a translation with commentary, an annotated transcription, a glossary, several indexes and photos of the text.

Based on a conference held Apr. 4-5, 2008 at Amherst College.

In Three Hundred Years of Death: The Egyptian Funerary Industry in the Ptolemaic Period, Maria Cannata provides a detailed survey of the organisation of the necropolises and the funerary workers, as well as their role in the practical aspects of the mummification, funeral, burial, and mortuary cult of the deceased, in Ptolemaic Egypt (332-30 BC). The author gathers together and synthesises hundreds of the original textual sources, as well as the relevant archaeological sources, on the organisation of the funerary industry and its practitioners, revealing important regional and chronological variations overlooked in studies focusing on a limited geographical area, a shorter timeframe, or a smaller group of documents.

Petitioning Osiris re-edits, re-analyses, and re-contextualises the "Old Coptic Schmidt Papyrus" and "Curse of Artemisia" – written petitions to different manifestations of Osiris – among the Letters to Gods in Demotic, Greek, and Old Coptic from Egypt. The textual traditions of the Letters to Gods, to the Dead, and Oracle Questions which evidence that ritual tradition of petitioning deities are contextualised among contemporary textual traditions, such as Letters and Petitions to Human Recipients, and Documents of Self-Dedication, and compared to later ritual traditions such as proactive and reactive curses without and with judicial features (so-called Prayers for Justice) in Greek and Coptic from Egypt and the Eastern Mediterranean. As with all other Letters to Gods, the Old Coptic Schmidt Papyrus and Curse of Artemisia evidence not only the struggles and aspirations of their petitioners, but also the way in which they conceptualised that they could bring about desired outcomes in their lived experience by engaging divine agency through a reciprocal relationship of human-divine interaction. Petitioning Osiris therefore provides a starting point and springboard for readers interested in these, or comparable, textual and ritual traditions from the Ancient World.

In The Craft of a Good Scribe, Steve Vinson offers a comprehensive study of the Demotic Egyptian First Tale of Setne Khaemwas (Third Century BCE), the first to appear since 1900. "First Setne" is the most important extant Demotic literary text, and among the most important fictional compositions from any period of ancient Egypt. The tale, which is by turns lurid, tragic and ultimately comic, deals with Setne's theft of a magic book written by the god Thoth himself, and subsequently Setne's punishment through a hallucinatory encounter with the ghostly femme fatale Tabubue. Vinson provides a new textual edition and commentary, and explores the tale's cultural background, its modern reception, and approaches to its interpretation as a work of literature.

This book is the first ever edition of an abnormal hieratic business archive from the Louvre of a mortuary priest in 7th century BCE Thebes (Egypt), discussing points of history, law, economics, religion, grammar, chronology and abnormal hieratic palaeography.

This volume builds bridges between usually-separate social groups, between different methodologies and even between disciplines. It is the result of an innovative conference held at Swansea University in 2010, which brought together leading craftspeople and academics to explore the all-too-often opposed practices of experimental and experiential archaeology. The focus is upon Egyptology, but the volume has a wider importance. The experimental method is privileged in academic institutions and thus perhaps is subject to clear definitions. It tends to be associated with the scientific and technological. In opposition, the experiential is more rarely defined and is usually associated with schoolchildren, museums and heritage centres; it is often criticised for being unscientific. The introductory chapter of this volume examines the development of these traditionally-assumed differences, giving for the first time a critical and careful definition of the experiential in relation to the experimental. The two are seen as points on a continuum with much common ground. This claim is borne out by succeeding chapters, which cover such topics as textiles, woodworking and stoneworking. And Salima Ikram, Professor of Egyptology at the American University in Cairo, here demonstrates remarkably that our understanding of the classic Egyptian funerary practice of mummification benefits from both 'scientific' experimental and sensual experiential approaches. The volume, however, is important not only for Egyptology but for archaeological method more generally. The papers illuminate the pioneering of individuals who founded modern archaeological practice. Several papers are truly groundbreaking and deserve to circulate far beyond Egyptology. Thus the archaeologist Marquardt Lund tackles the problem of understanding the earliest known depictions of flint knife manufacture, those from an Egyptian tomb dated around 1900 BC. He shows the importance of thinking outside 'traditional', i.e. modern, knapping practice. Lund's knapping method, guided by the tomb depictions, is surprising but effective, and very different from that presented in manuals of lithic technology or taught in academic institutions.

First runner-up for the British-Kuwait Friendship Society Book Prize in Middle Eastern Studies 2015. In ancient Egypt, wrapping sacred objects, including mummified bodies, in layers of cloth was a ritual that lay at the core of Egyptian society. Yet in the modern world, attention has focused instead on unwrapping all the careful arrangements of linen textiles the Egyptians had put in place. This book breaks new ground by looking at the significance of textile wrappings in ancient Egypt, and at how their unwrapping has shaped the way we think about the Egyptian past. Wrapping mummified bodies and divine statues in linen reflected the cultural values attached to this textile, with implications for understanding gender, materiality and hierarchy in Egyptian society. Unwrapping mummies and statues similarly reflects the values attached to Egyptian antiquities in the West, where the colonial legacies of archaeology, Egyptology and racial science still influence how Egypt appears in museums and the press. From the tomb of Tutankhamun to the Arab Spring, Unwrapping Ancient Egypt raises critical questions about the deep-seated fascination with this culture – and what that fascination says about our own.

The Dictionary of Deities and Demons in the Bible (DDD) is the single major reference work on the gods, angels, demons, spirits, and semidivine heroes whose names occur in the biblical books. Book jacket.

An exploration of Aseneth's beginnings In Aseneth of Egypt: The Composition of a Jewish Narrative, Patricia D. Ahearne-Kroll challenges reliance on reconstructed texts in previous scholarship on the book of Joseph and Aseneth. After outlining the problems with previous prototypes of the Hellenistic narrative, she proposes a way to talk about the story in its initial setting without ignoring the manuscript evidence. Her thorough analysis of the evidence reveals how Joseph and Aseneth reflects the literary impulse of Greek-speaking Jewish writers to redescribe their identity in Egypt and Judean connections to the land of Egypt, while incorporating Ptolemaic strategies of legitimation of power. In the end, Ahearne-Kroll concludes that the base storyline preserved in all the copies of this story demonstrates that it was written for Jewish communities living in Hellenistic Egypt. Features: A focus on Hellenistic stories of heroic ancestors A discussion of the possible lives of Jews in Hellenistic Egypt drawn from the narrative of Aseneth An examination of the complexities involved in dating the composition of literary texts