The heart scarab of King Shoshenq III (Brooklyn Museum 61.10)

Publication of the heart scarab of King Shoshenq III, now in the collection of the Brooklyn Museum (inv. 61.10).Although its original context is unknown, the scarab was almost certainly robbed from the king’s tomb at Tanis(NRT 5), perhaps during World War II when archaeological work at the site was suspended. Another heart scarab from NTR 5, that of Shoshenq IV and likewise stolen before it could be formally published by Pierre Montet, isalso discussed

Shoshenq I and biblical Šîšaq: A philological defense of their traditional equation

Since the late 1980s, as part of proposals to lower the conventional chronology of pharaonic Egypt by one to three hundred years, a number of scholars have identified biblical Šîšaq (1 Kings 11:40, 14:25; 2 Chronicles 12:2-9) with Ramesses II or III, rather than the conventional Shoshenq I, on the basis of rare hypocoristica for ‘Ramesses’, ssysw, ssw, and ss. Without addressing the chronological issues, this paper examines this proposed re-identification from a philological perspective, concluding that the proposal to identify biblical Šîšaq with any king named ‘Ramesses’ is unwarranted and implausible

King Djeḥuty-em-ḥat in Swansea: Three model scribal palettes in the collection of the Egypt Centre of Swansea University

Publication of three ancient Egyptian scribal palettes from the collection of the Egypt Centre of Swansea University. One had the only known depiction of the King Djehuty-em-hat (Thothemhat) of al-Ashmunayn (Hermopolis), a little-known Upper Egyptian ruler from the late Third Intermediate Period. Chronological issues are considered

The mummy of Shoshenq I re-discovered?

In Göttinger Miszellen 198 (2004):55–62, R. L. Miller identifies a mummy formerly in the collection of the Niagara Falls Museum with that of Shoshenq I (though other candidates are not ruled out), primarily on the basis of a tree-ring calibrated radiocarbon date. A re- examination of the historical evidence cited by Miller in support for this contention makes such an identification implausible

An Analysis of Secondary Mathematics Teacher Learning in the Midwest Master Teacher Partnership

This case study investigates the professional learning and changes in teaching practices and leadership of four experienced, mid-career secondary mathematics teachers as a result of participation in the Midwest Master Teacher Partnership, a professional development partnership between a research university and a large, urban school district. The design of the professional development was based primarily on teacher action research; it placed the teacher at the center of the learning experiences, and included considerations of teachers’ existing knowledge, contexts, community, and assessment.The primary research question is, “How have teachers’ practices changed through their participation in a practice-based professional development project?” To answer this question, this study considers three aspects of teacher learning and practice: (1) The trajectories of teachers’ changes in practice and the way the nature of their participation in MMTP impacted their pedagogical practice; (2) The evolution of teachers’ mathematical knowledge for teaching and beliefs about teaching mathematics over the course of MMTP; and (3) The pathways that teachers took in their professional learning with MMTP, the factors that shaped their movement on the pathways, and ways that the nature of their participation in MMTP impacted teachers’ attitudes toward professional development and their thoughts about future engagement in professional learning. A qualitative analysis was performed on written, video recorded, and audio recorded artifacts collected over the duration of the Midwest Master Teacher Partnership and the teachers’ work was examined for changes in knowledge, beliefs, and teaching practices over time. The findings provide evidence that the four teachers each experienced individual changes in practice: changing notions of student success, building trust in students to take ownership over their learning, building a community of learners, and changing beliefs about students and how they learn. In addition, the four teachers each experienced individual changes leadership: establishing credibility, sharing knowledge with the larger community, gaining confidence as an expert, and shared leadership and collective vision. This case study demonstrates that consideration of experienced teachers needs when planning and implementing practice-based professional development and using teacher action research to drive teacher learning can promote productive changes in teachers’ mathematical knowledge for teaching, teaching practices, and beliefs about teaching and learning

The Role of Cultural Heritage in 21st-Century Music Education

Cul­tural her­it­age is an in­teg­ral part of Hun­garian music edu­ca­tion. Folk tra­di­tions and folk songs are taught in every school, from the cap­ital city to the smal­lest vil­lages. Thou­sands of songs were col­lec­ted by Zoltán Kodály and Béla Bartók, who ad­op­ted them in their clas­sical com­pos­i­tions. With this they earned fame for Hun­garian folk music and tra­di­tions. Zoltán Kodály also com­posed a series of music read­ing ma­ter­i­als, mainly based on folk songs, which is cur­rently used on all levels of Hun­garian music edu­ca­tion. Not only the Kodály concept, but the Táncház-method was also se­lec­ted in the Re­gister of Good Safe­guard­ing Prac­tices of UN­ESCO Cul­tural Her­it­age. In our di­gital age, the net-gen­er­a­tion, un­like the pre­vi­ous stu­dent pop­u­la­tions, can have dif­fer­ent habits, which is the reason why stu­dents’ music skills were tested with tech­no­logy-based meth­ods and tools. They are sur­roun­ded by pop­u­lar media; however, the value that folk tra­di­tion of­fers should be in­ev­it­able in their edu­ca­tion. The find­ings of our re­search provides input for the edu­ca­tional sys­tem about Hun­garian stu­dents’s music lit­er­acy, and their fa­mili­ar­ity with its vari­ous ele­ments, es­pe­cially with cer­tain com­pon­ents of their cul­tural her­it­age

The Role of Cultural Heritage in 21st-Century Music Education

Cultural heritage is an integral part of Hungarian music education. Folk traditions and folk songs are taught in every school, from the capital city to the smallest villages. Thousands of songs were collected by Zoltán Kodály and Béla Bartók, who adopted them in their classical compositions. With this they earned fame for Hungarian folk music and traditions. Zoltán Kodály also composed a series of music reading materials, mainly based on folk songs, which is currently used on all levels of Hungarian music education. Not only the Kodály concept, but the Táncház-method was also selected in the Register of Good Safeguarding Practices of UNESCO Cultural Heritage. In our digital age, the net-generation, unlike the previous student populations, can have different habits, which is the reason why students’ music skills were tested with technology-based methods and tools. They are surrounded by popular media; however, the value that folk tradition offers should be inevitable in their education. The findings of our research provides input for the educational system about Hungarian students’s music literacy, and their familiarity with its various elements, especially with certain components of their cultural heritage