On viewing extensive amounts of Egyptian art, the similarities between the subjects and styles is somewhat astounding to a Western eye, which is more trained to notice the different signs of individual artists. It easily becomes clear that though the Egyptians saw aesthetic value in art and material things, most of the artwork they left behind -- especially in tombs and funerary chapels -- serve a much higher purpose

The Greeks even believe that the sun had "kissed" the Ethiopians, explaining the deep color of their skin. In fact, according to one of the sources Keita quotes, the Ethiopians "pioneered" religion, inventing many of the customers that existed later in Egypt; according to that same source, the Egyptians were descended from the Ethiopians. Indeed, Herodotus asserted that almost all the names of the Greek gods came from Egypt,

The use of physical suffering as a symbol for emotional and spiritual suffering is also well-known in the Western tradition. Centuries later, men and women would disappear into the desert in search of God. They would live apart from all human companionship, and deprive themselves of all physical comfort. Gilgamesh does the same. Gilgamesh is also like the lover who pines away for his beloved and wastes away in

History of Christianity -- "The Didache" When was the Didache written? The Didache is also known as "The Teachings of the 12 Apostles," and it is dated as having been written around 50's, 60's, or perhaps 70's AD although those dates are not certain. Jonathan Draper in fact says the latest revision of the possible date that the document was written is 100 AD. Even though the date is not certain, what

This exchange of cultural ideas and manifestations sounds suspiciously like that propagated by Bernal under his Revised Ancient Model. Yet, for some reason, Lefkowitz feels the need to spend the bulk of her article antagonizing Bernal and polarizing him as if he is advocating some sort of Afrocentric stance. This fact is evinced by the preceding passage, in which she references another author -- one who is decidedly pro-Afrocentric --

human form: Paleolithic art through ancient Greece Over the course of human history, the artistic representation of the human form gradually became both more 'realistic' and 'idealistic.' Although this may sound like a contradictory statement, when viewing the shift from the highly stylized, anonymous figures in Paleolithic art to the anatomically correct, near-perfect representations of the human form in Classical Athens, a gazer can see a clear change in the