الفهرس 
IntroductionOnly 14 pages are availabe for public view
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Abstract
Objectives of the study are
-To gather and survey the stelae of non-royal women from Thebes and Memphis during the New Kingdom.
-To establish a definition for stelae belonging to or dedicated primarily to women.
-To explore the social and religious position of the owners of these monuments through images, texts, and context and to find out the epithets of women and their meanings and attestations.
-To identify the gender distinction between children and their affiliation to the maternal line.
-To examine the iconography of women through postures, clothes, accessories, and even the objects in their hands.
-To define the variety of themes of women’s stelae.
-To analyze the patterns of ownership.
-To establish criteria for dating undated monuments, and to assess regional styles and workshops if possible.
-To assess change over time particularly artistic.
- To give well-organized information about the studied stelae corpus, this can be used by the tour guides and researchers to help them fulfill their task of describing and analyzing the women’s portrayal.
- VII-Methodology
A descriptive and analytical methodology will be carried out to achieve the objectives of this study. It will be conducted by gathering and describing the stelae of non-royal women, which are distributed across a variety of museums such as Luxor storeroom Museum, Saqqara Antiquities Magazine, Cairo Egyptian Museum, Grand Egyptian Museum, Turin Museum, National Museum of Leiden, Florence Museum, Louvre Museum, Kingston lacy museum, Field Museum of Natural History, British Museum, Manchester Museum, Copenhagen, Ny Carlsberg Glyptotek, the University of Pennsylvania Museum of Archaeology and Anthropology, Berlin Egyptian Museum, Budapest, Hungarian Museum, Hannover, Kestner Museum, and Moscow, Pushkin Museum of Fine Arts. The stelae will be numbered according to the date from oldest to latest in each provenance.
The descriptive study will deal precisely with each stela, transliterating and translating the texts, and then provides commentary on the main characteristic features.
A complete analysis would be undertaken to assess the aims outlined above using existing primary publications, old catalogs, and excavation reports to examine and define the corpus. New editions, including facsimile drawings and photographs, would be produced to enable the scientific publication of any unpublished stelae. The scenes and inscriptions of non-royal women’s stelae will be analyzed to assess development and help re-date the unpublished and undated stelae.
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After finalizing the descriptive and analytical study of the chosen corpus, the principal results revealed are;
•The non-royal women of the stelae corpus are elite and non-elite, descend from the upper and middle classes, and include a princess, wives of high officials, artists, workers, guardians, and some without definite genealogy.
•Some held high-level positions in the priesthood, such as professional mourners, songstresses, and chief musicians, while others held middle-level jobs, such as junior mourners and nurses. Some are mistresses of the households, without knowing more about their exact careers.
The women’s roles were revealed through their epithets, emphasizing their prestigious position in Egyptian society. The stelae of women imply their religious position through the represented funerary themes that refer to personal religious piety and their freedom to worship their favorite deities. Many goddesses, such as Hathor, Mertseger, Taweret, Renenutet, and others
• Their relationship with women is because of their attributes as deities of birth, rejuvenation, pregnancy, nursing, childhood, and food provision. Unlike the other Theban cities, worship was restricted to the principal local deity.
•The term “female stela” could be defined by the primacy depiction of women either alone in a stela or participating with other male relatives through precedence in iconography and texts. The evidence of commissioning such stelae from their incomes is not confirmed as they might be dedicated by their husbands or male relatives on their behalf or shared costs with them equally, but others who work could pay for it. Even if she did not contribute financially, she could be an honorific donor, intermediate, or associate owner.
• The stelae stylistic similarities among both provenances are identical, probably as Hartwig supposed; all artists graduated from one school and were distributed among cities.
•The stylistic variations appear in the artistic identity marks for each region that the religious and social background contributes in their formulation, such as the local deities and their iconography, attributes, and their related myths.
•The portrayal method of Theban women, their clothes, accessories, and attributes are near the Memphite ones, but with slight standardizations in body proportions and facial features.