THE USE OF ART AS AN INTERTEXTUAL TOOL FOR COMUNICATIVE PURPOSES. THE RELATIONSHIP BETWEEN ART AND ADVERTISING AS BRAND
MANAGEMENT IN THE CASE OF THE CLASSICAL PYRAMIDS OF GIZA. PJAEE, 18 (2) (2021)
642
THE USE OF ART AS AN INTERTEXTUAL TOOL FOR COMUNICATIVE PURPOSES.
THE RELATIONSHIP BETWEEN ART AND ADVERTISING AS BRAND
MANAGEMENT IN THE CASE OF THE CLASSICAL PYRAMIDS OF GIZA.
Glo ia Jiménez-Ma ín1, Elena Bellido-Pé ez2, Rod igo Elías Zamb ano3, A aceli Galiano-
Co onil4
1,2,3Uni e si y o Se ille Spain Facul y o Communica ion Ame ico Vespucio, A ., n/n – B2
o ice Ca uja Island Se illa Spain
4INDESS and Uni e si y o Cadiz Spain Facul y o Social Sciences and Communica ion
Uni e si y A enue, Je ez de la F on e a Cadiz – Spain
Email: 1[email p o ec ed], 2ebe[email p o ec ed], 3 od igoelia[email p o ec ed],
4a ac[email p o ec ed]
Ph.D. Glo ia Jiménez-Ma ín, Ph.D. Elena Bellido-Pé ez, Ph.D. Rod igo Elías
Zamb ano, Ph.D. A aceli Galiano-Co onil The Use o A as An In e ex ual Tool o
Comunica i e Pu poses. The Rela ionship Be ween A and Ad e ising as B and
Managemen in The Case o The Classical Py amids o Giza. -- Pala ch’s Jou nal O
A chaeology O Egyp /Egyp ology 18(2), 642-655. ISSN 1567-214x
Keywo ds: Ad e ising; A ; B and; Egyp ; In e ex uali y; P opaganda; Religion.
ABSTRACT
Egyp ian a comp ises a se ies o a is ic disciplines wi h clea communica i e, ad e ising
and p opagandis ic in en ions. The cons an commi men o he poli ico- eligious powe o
he ime, and h oughou i s his o y, has p o ided an ex ao dina y a is ic legacy ha , beyond
showing echniques o eelings, bo h o he a is s and o socie y, e eals, a e analysis, he
ela ionship be ween a and pe suasi e ad e ising, highligh ing hose ci cums ances, wo ks
o ansmi e s hanks o which bo h languages ha e been close , ei he because ad e ising
has been close o a o ice e sa.
The esul o he con luence be ween a is ic guidelines and communica i e pu poses
(speci ically p opaganda) was an ex ensi e pe suasi e campaign and he c ea ion o a
powe ul b and image, which is analysed he e and dissec ed in communica i e e ms.
INTRODUCTION
A has se ed as a communica i e ool since i s o igins: i s as p opaganda
and la e as ad e ising. A has been a concep p o usely deal wi h since he
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o igins o mankind, posing ce ain challenges o esea ch since " o he boom
o i s exp essions, we mus add he complex con inui y o a symbolism whose
pe cep ion escapes us o a g ea ex en " (Lloyd, 1979: 27) and whose
in e ex uali y wi h o he discou ses is e iden (Ma cos, 1976). In
communica ion, in gene al, and in ad e ising discou se, mo e speci ically,
he e a e many cases o in e ex uali y in a conscious and in en ional manne .
P e ious s udies (Badenes-y-Pla and Ga cía-González, 2017; Alonso and
Conde, 1994; AA.VV., 1982; Eguizábal, 1990) insis ha his ansg ession o
he code used by ad e ising is no andom, bu esponds o he need o
exp ess a pa icula e ec in a di e en way.
Be ge (1991) de ines in e ex uali y as he conscious o unconscious use o
o he people's ma e ial in a ex . O'Donohoe (1997, 2000) also s a s om he
conside a ion o in e ex uali y in communica ion as a pos mode n
phenomenon and analyses i s implica ions o he pe cep ion o ad e ising
messages. In his sense, au ho s such as Bake (1967: 19) e e o ad e ising
as "ad e ising a ". In ac , as De Vicen e (2011: 191) poin s ou , "be ween a
and ad e ising he e ha e been encoun e s, in e ela ions and connec ions,
ei he because ad e ising has app oached a o ice e sa". These links ha e
been shown h ough a ious exhibi ions ha ha e made a his o ical jou ney
om he o igins o he p esen day, and which ha e been held since he second
hal o he wen ie h cen u y (González, 1997: 55); he i s o which was A
e Pub dans le monde, a he Musée des A s Déco a i s in Pa is.
In con empo a y imes, ad e ising ul ils an image-c ea ing unc ion in he
same way as a . Thus, Gil (2003) demons a ed ha wo ks o a and
ad e ising ha e simila unc ions in he social and pe sonal domains.
The e o e, ad e ising, as an in eg al pa o he mechanisms o he consume
socie y, has p omo ed he iconog aphic di e si y ha p oli e a ed in he isual
a s, wi hin he p ocesses o change and up u e ha mode ni y and he
his o ical a an -ga des b ough abou , hus con ibu ing o he undamen al
concep ual ans o ma ions ha ha e aken place in he ield o aes he ics and
a . In his sense, in 1998, Julie a O iz analysed he impo ance o he s udy o
he ad e ising image in he Mexican p ess. The esea che s a ed om he
p emise o unde s anding comme cial communica ion in i s ad e ising aspec
as a undamen al pa o he isual codes o he 20 h cen u y "in i s in e ac ion
wi h he languages o mode n a " (1998: 412), based on he p emise ha
ad e ising images ha e aken up a la ge pa o he adi ion o Wes e n a ,
while a he same ime in luencing he con igu a ion o 20 h cen u y a .
Added o his is he ac ha ad e ise s and a is s ha e e y blu ed
bounda ies be ween hem. Thus, Gomb ich (2013) commen s ha " he e a e
only a is s (...), oday hey buy hei colou s and design pos e s o billboa ds;
hey ha e done and do many o he hings"; Eguizábal (1998: 15) speaks o
" ele an momen s" e e ing o ad e ising, linking i o "a is s, wi h some
achie emen s o in e na ional epe cussion, as in he case o Ramon Casas";
Gu ea (1998: 165) poin s ou ha " he aes he ics o ad e ising is conside ed
he mos ep esen a i e sample o he mass a o ou ime", and ha " he
aes he ics o ad e ising is conside ed he mos ep esen a i e sample o he
mass a o ou ime", and ha " he aes he ics o ad e ising is conside ed he
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mos ep esen a i e sample o he mass a o ou ime", and Pé ez (1998: 185)
commen s ha a is s like Wa hol "do no copy Campbell's soup cans, Coca-
Cola bo les, o B illo soap boxes because he eels plas ic empa hy owa ds
hese elemen s, bu because i allows him o use hem as me apho s o explain
he socie y in which he li es". And, abo e all hese issues, ca ying ou
communica ion objec i es is a common capaci y ha pu s a and ad e ising
in in ima e ela ion.
LITERATURE REVIEW
A as A Basis o Ad e ising Campaigns
The ela ionship be ween communica ion and a has ecei ed conside able
a en ion (Vien e, 2011; Fillis, 2002). Communica ion makes use o he plas ic
iumphs o wo ks o a : aes he ics, esou ces o my hical passages (Pé ez,
2000). This was con i med, o example, by Daix (1990), who s udied he
in luence o Picasso, B aque and G is on ad e ising, o Banash (2004), who,
mo e p ecisely, s udied he in luence o he collage echnique (again B aque,
Picasso and G is, among o he s) as a o m o ad e ising exp ession.
Simila ly, a has been nou ished by ad e ising mani es a ions, as in he case
o Pop wo ks by a is s such as Wa hol, wi h his amous se ies o Campbell
Soups o , mo e ecen ly, he Spania d An onio de Felipe, wi h his se ies o
Cows o In an as. Mo eo e , as He s oni & Tukachinsky (2005) exp ess,
ad e ising b ings o he s ee he a is ic mo emen s, especially he so-called
mode n s yles, which know he alue o a as communica ion (Jiménez-Ma ín
& Elías, 2019). In his way, a abandons i s adi ional exhibi ion suppo s
(museums, exhibi ion halls, e c.) and ies o ac i ely pa icipa e in e e yday
li e.
A is a powe ul esou ce in ad e ising. We can a ibu e o ad e ising he
basic pu poses o ans- ex ual ela ions conside ing ha , on he one hand,
hey a e based on a sea ch o au ho i y o y o gi e, by means o he oice,
he igu e o he wo k i sel o ano he , a ce ain p es ige, wisdom, ecogni ion,
e c. (Gene e, 1989); and, on he o he hand, his in oduc ion p oduces an
e ec o complici y o ecogni ion in he a ge audience (Jiménez-Ma ín &
Elías, 2019). De Vicen e (2010) analysed he way in which ad e ising
c ea i es inse a is ic elemen s in p in ad e ising o ad e ise p oduc s.
Analysing aspec s such as which a is ic mani es a ion is mos used, he mos
usual ype o ep oduc ion, whe he hey a e wo ks ecognised by he iewe ,
o s udying hei composi ion in he ad e isemen , among o he aspec s, a e
some o he a iables analysed in his esea ch, which shows ha c ea i es o
ad e ise s use cha ac e is ic isual codes in bo h he ep esen a ion and he
composi ion o a is ic elemen s in p in ad e ising.
Among he pionee ing wo ks on his objec o esea ch is Be ge , who, in
1972, no ed ha ad e isemen s o en included wo ks o a o imbue p oduc s
wi h a sense o luxu y and cul u al alue. La e , Williamson (1978) indica es
ha he use o wo ks o a in communica ion s a egies helps o anscend
social dis inc ions, poin ing ou ha when ecognised wo ks o a appea in an
ad e isemen o any o he o m o communica ion, hey con ibu e a sys em
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o codes o he han social ones ha help he in e p e a ion o he
ad e isemen s by he audiences. In line wi h Be ge , Dye (1982) a gued ha
he use o a in ad e ising, om a p o essional poin o iew, has been
closely linked o highe s a us and p es ige, and he inclusion o wo ks o a in
ad e isemen s se es as a symbol o high cul u e, high skills and high alues
(Walke , 1983). Caudle (1989), o example, no ed how he inco po a ion o
a is s' a wo k o ools in ad e isemen s sugges s ha he p oduc s being
o e ed a e mas e pieces in hemsel es and hus helps o posi ion hem wi h
alues o exclusi i y. This au ho analyses he app op ia e use in ad e ising
o di e en a is ic o ms (po ai s, landscapes, s ill li es, abs ac
composi ions, e c.) and s yles (su ealism and imp essionism). Ano he e y
in e es ing wo k has been he s udy ca ied ou by He s oni & Tukachinsky
(2005), who analysed he a ge audience's pe cep ion o p oduc s ad e ised
wi h a is ic mani es a ions. These esea che s, who ocused exclusi ely on
sculp u e, pain ing and a chi ec u e, s udied he in luence, in e ms o p es ige
and s a us, o ad e ising a p oduc using one o hese a is ic disciplines, as
well as i s comme cial epe cussions.
Rega ding speci ic a is ic s yles, he e a e se e al s udies ha ha e del ed
in o he use o su ealism in ad e isemen s, such as Mos a a (2005). A
pionee ing wo k is ha o Home & Kahle (1986) who analysed he
e ec i eness o p in ad e isemen s designed acco ding o he p inciples o
su ealism. The esul s showed ha ads wi h su ealis ic con en we e mo e
e ec i e in e ms o ecall, ecogni ion, a i ude and in luence on consume
beha iou . Ano he ele an wo k in his sense is he s udy "Mag i e,
ad e ising c ea i e" (2006) by he esea che s Mensa & Roca, in which hey
analyse he su ealis pain e 's ace as an ad e ising c ea i e. These au ho s
conside he au ho o be an "ad e ising a is " and discuss he in luence o a
on ad e ising, o mula ing he exp ession "pic o ial and ad e ising
su ealism" and s a ing ha " he e is a co ela ion be ween pain ing and
ad e ising" (2006: 299), despi e he ac ha , in he wo ds o P a Gaballí,
"su ealism applied o ad e ising has dange s o ine ec i eness, because
p e ending o emo e he subconscious, i can happen, and o en does happen,
ha i emo es nei he he subconscious no eason" (Rie a, Chica & Ga iga i
Puig, 1998: 124). Fo his pa , Asenjo (1999) in es iga ed images in
ad e ising ha ha e hei e e en in he his o y o pain ing, limi ing his ield
o esea ch o he pe iod since imp essionism. In he same yea , 2005, P ie o
analysed he his o ical con ex and he in luence o an a is ic s yle, he
Bauhaus, on ad e ising.
In e ms o a is ic o ma s, he e a e s udies on he in luence o speci ic
a is ic disciplines in ad e ising, such as he s udies ca ied ou by Ca o &
Jiménez-Ma ín (2006) and Jiménez-Ma ín & Gómez (2006). The i s ,
"Comme cial a chi ec u e as a suppo o he c ea ion o iden i y in he
ashion sec o " s udies he use ha la ge companies in he ex ile sec o a e
making o one o he a is ic disciplines, a chi ec u e, o s and ou om he
compe i ion by seeking no o ie y and dis inc ion. The second, "El uso de la
pin u a en la publicidad de e is as emeninas en España" (The use o pain ing
in he ad e ising o women's magazines in Spain), lis s he ad e ise s who
egula ly use pain ing o publicise o ecall hei p oduc s, se ices o b ands.
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Along he same lines, Canales (2006) analysed he ole o he image in wo
ields wi h such opposi e unc ions and pu poses as mu al pain ing and
ou doo ad e ising. Mad azo, He nández, Ri e a & Saba (2007: 821-835)
also p esen he esul s o a s udy on he mul idisciplina i y and
in e disciplina i y o disciplines such as communica ion and a , speci ically
a chi ec u e.
This in e ex uali y has mean ha , on occasions, he bounda ies be ween
ad e ising and a a e o ha e been blu ed. While i is no di icul o
unde s and ha a can se e as an ad e ising claim, as has been explained in
his sec ion, i is mo e complex o accep ha ad e ising, and e en o he
o ms o communica ion, can be conside ed a . Because he comme cial
objec i es o ad e ising a e, a p io i, a emo ed om he pos mode n
concep o he sel -abso p ion o a . Au ho s such as Da idson (1992) suppo
his app oach, bu o he s such as Fink (1994: 25) a gue ha ad e ising is an
a o m in i s own igh and possibly "one o he mos exci ing o he 20 h
cen u y. A doesn' eally challenge people's minds he way i did...
ad e ising has now aken o e as he new means o exp ession". In he a
ma ke , his con usion eaches unimaginable limi s: a wo k can be conside ed
a i i is exhibi ed in a galle y o museum, and ad e ising i i is inse ed in
he pages o a newspape . Bu he aims o he wo disciplines a e adically
di e en . While he aim o ad e ising is o in o m, emind and pe suade
(Sánchez, 1999), he aim o a is, be o ehand, pu ely aes he ic and pe cep ual
(Ruh be g, Schneckenbu ge , F icke & Honne , 2001).
A as A Fo m o Ad e ising
The echniques and ools o ad e ising, as well as i s language, show a is s
di e en possibili ies o communica ion, and a , in his sense, shows i s alue
as a communica o , ying o pa icipa e in e e yday li e, as i did in p e ious
cen u ies when a was one o he main channels o communica ion. Thus, as
ea ly as ancien Egyp , a was used o p opaganda and ad e ising pu poses.
Th oughou human his o y, he e is a long lis o a is s who used hei a o
communica i e pu poses: The Cubis G osz o he pho omon ages o
Hea ield (agains he Nazi egime); Lissi zky, Rodchenko and Maiako sky
(agains he So ie poli ical sys em); he Spania ds Renau, Picasso and Mi ó
(in a ou o he Republic). Jus as he ea ly Dadais s made hemsel es known
in Zu ich h ough pos e s, he Ge man Exp essionis s used a as a means o
communica ion, aking elemen s om ad e ising. The g oup o a is s
consis ing o Kollwi z, G osz, Hea ield p oduced wo ks o a ha ied o
coun e ac he e ec s o Nazi p opaganda. Wi h Pop A , he e was a
p og essi e app oach o he language o ad e ising, seeking e lec ions on
socie y (Pé ez, 1998).
La e , he wo ks made by some o he membe s o collec i es such as he
Gue illa Gi ls, o a is s such as Hans Haacke o Ba ba a K uge , se ed as a
model o he a g oups o he 1980s whe e hei c ea ions a e aimed a
dis u bing he iewe and making hem e lec . Con empo a y a i is ac ions
ely hea ily on he abili y o a o communica e e olu iona y ideas o he
iewe (Alad o Vico, Ji ko a-Semo a & Bailey, 2018).

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Wi h all his we ask ou sel es: Can a be ad e ising? Two clea endencies
can be ound in bo h languages ha link hem. Speci ically, he e is a endency
in some a is ic mo emen s o use esou ces om communica i e language o
ad e ising o p opaganda pu poses. Thus, ce ain cu en s eme ge acco ding
o which he e is a mo e owa ds wo models o a is ic p oduc ion: one
ai h ul o he me hods o classical c ea ion, and he o he whose main in e es
is o adop and achie e new echniques and new media. The i s o hese
models, which is commi ed o a classical concep ion ( he wo-dimensional
model o ep esen a ion o eali y in ad e ising is inhe i ed om a ),
con inues on i s way and s ops o examine p e ious a is ic mo emen s; on he
con a y, he model ha is commi ed o he s ee is e y pe meable o he
isual in luences o he en i onmen , so ha ad e ising is a g ea ield o
ac ion and in luence (Pé ez, 1998).
A as P opaganda
Pa allel o he a -ad e ising in e ex uali y, he e a e ques ions abou he way
in which p opaganda and a ela e o each o he . These ha e se e al open
lanks om which o analyse hem and a emp o answe hem. The e a e
ques ions ha pe pe ua e he deba es su ounding bo h concep s, such as hose
posed by Cla k: "Does he use o a o p opaganda imply he subo dina ion
o aes he ic quali y o he message? On he o he hand, can he c i e ia o
judging aes he ic quali y be sepa a ed om ideological alues? (2003: 10).
The in e ela ion be ween he wo concep s can be since he p opagandis ic
po en ial o a is unques ionable. In his sense, Huici poin s ou ha he image
and he symbol "a e dimensions ha man p ocesses om p emises based on
in ui ion and emo ion, as opposed o he logical- a ional p ocessing ha is
ypical o e bal language" (1996: 46). Fo his eason, plas ic a ,
undamen ally isual, is a good p opagandis ic ins umen , since " he image
lends i sel o pe suasion and o he implan a ion o models and pa e ns o
conduc in a much mo e e ec i e way han any o he language" (Huici, 1996:
46). Hence, powe ul isual p opaganda is a de e mining ac o in any
p opaganda s a egy. As Thomson poin s ou , "a ea u e o he mos e ec i e
p opaganda empi es, bo h poli ical and eligious has been ha hey ea ly on
es ablished a decisi e a is ic iden i y, a signi ican s yle di e en ial
consis en ly applied; wha in mode n comme cial e ms would be desc ibed as
s ong b anding" (1999: 80). Due o his empowe men o a is ic iden i y,
empi es and ins i u ions such as Egyp and i s Colossalism, G eece and i s
e inemen , o he Coun e -Re o ma ion Chu ch and i s hea icali y ha e gone
down in his o y. A as he iden i y o an empi e, s a e o ins i u ion is a
p opaganda ool ha , in addi ion o pu suing and achie ing ce ain
indoc ina ion e ec s in i s ime, p e ails as a isual iden i y ha is easily
ecognised o e he yea s and cen u ies.
Pe haps because o his link be ween ce ain a is ic mo emen s and he
egime in which hey we e bo n, Ma xis posi ions ha e been eached which
s a e ha all a has p ac ical e ec s on hose who obse e and enjoy i , and
he e o e i is also concei ed ha all a is p opaganda, since such enjoymen
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would ha e a di ec o indi ec e ec on he class s uggle (Vi as, 1935: 91).
"The eason o his", explains Vi as, "is ha he a is canno help e lec ing
he alues, ideas, and ideals -wha he Ma xis calls he 'ideology'- o he class
o which he belongs" (1935: 92). Howe e , one o he p oblems Vi as sees
wi h his posi ion is ha , i all a is conside ed p opaganda, hen ano he e m
o p opaganda would ha e o be de ised, one ha co ec ly delinea es he
di e ence be ween wha was hen called a and wha was called p opaganda;
"o he you a e p epa ed o show ha he e is eally no di e ence in kind
be ween he wo hings" (1935: 93). Simila ly, he asse ion ha all a is
p opaganda also has a nulli ying inge o he e y cha ac e is ics o a : "a
does no lead o ac ion. Wa pos e s do. A leads o con empla ion, o
knowledge in he A is o elian sense. Wa pos e s don' . And an ex ension in
he meaning o a wo d p opaganda canno obli e a e his di e ence" (1935:
93). The di e ence be ween a and p opaganda would hus be, o he au ho ,
ha while he o me leads o con empla ion, he la e leads o ac ion.
Fo his pa , Mon oe (1934) a i ms ha a would be p opaganda i he a is
is in e es ed in some poli ical cause, and no only in aes he ic ma e s. Bu
Mon oe does no go so a as o a i m ha he e is no p opaganda in a , bu
a he a gues ha i would be almos in isible o he eyes o he public (1934:
211). In sho , Mon oe a gues ha a is a inso a as i is he c ea i i y o he
a is , and no because o i s possible ideological in en ion, so ha , o all a o
be p opaganda, he p opagandis ic elemen o he wo k mus a ise p ecisely
om ha c ea i i y and spi i o he a is . O well's (2009) posi ion is also
educ ionis , as he ocuses he simila i y be ween a and p opaganda on he
message, s a ing ha "All a is p opaganda". In ac , O well e e s h oughou
o he impossibili y o he p ac ice o a o a 's sake because, acco ding o
him, all a is p opaganda because he poli ical commi men o he au ho is
always ex ac ed om he wo k.
In his ex we will conside ha p opaganda a exis s i he e is an in en ion
o powe in he wo k, gi en ha powe is he explana o y elemen o
p opaganda. The e o e, o a wo k o a o be ead as p opaganda, he e mus
be a poli ical o eligious en i y ha in ends o legi imize i s powe h ough i .
I would no be enough, he e o e, o simply embody he a is 's ideology.
This can lead o he e oneous dis inc ion, as Thomson (1994: 4) a gued,
be ween pu e (supe io ) a and p opaganda (in e io ) a , acco ding o which
he e a e, on he one hand, g ea a is s who a e no willing o pu hei wo k
and alen unde he o de s o powe ul indi iduals o g oups; and, on he o he
hand, second- a e a is s who do accep such commissions and who, because
hey a e wo se a is s, will p oduce epheme al and de ec i e wo ks. His o y's
g ea wo ks o a esul ing om p opaganda commissions ( om
Michelangelo's Sis ine Chapel o Picasso's Gue nica) jus i y he opposi e. On
he o he hand, Cla k (2003: 8) a gues ha once he a is eclaimed his
ideological eedom in he mid-nine een h cen u y, he a ha con inued o be
c ea ed unde he p o ec ion o he ins i u ions o powe , an a ha was clea ly
p opagandis ic, could no be well conside ed. In he same ein, Le y (2004:
70) a gues ha i is a p ac ically impossible ask no o judge he wo k o a in
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MANAGEMENT IN THE CASE OF THE CLASSICAL PYRAMIDS OF GIZA. PJAEE, 18 (2) (2021)
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e ms o i s p opagandis ic con en : "Spee 's wo k will always be ead as Nazi
a chi ec u e bu ne e unambiguously as good a chi ec u e".
Some au ho s disquali y a as p opaganda, such as Ado no (2004), Ruesch &
Ba eson (2009) o Dewey (2008), o whom he dis inc ion be ween a and
p opaganda lies in he ac ha , while he o me p oduces new discou ses,
opening up a ange o new ways o seeing he wo ld, p opaganda na ows he
public's gaze owa ds p econcei ed ideas. On he o he hand, he e a e hose
au ho s who na u alise a as p opaganda, whe e Hause (1994) s ands ou , o
whom a is s ha e always ollowed he o de s o a supe io o o a pa icula
communi y; only excep ionally in his o y, he au ho explains, can we ind
examples o his disconnec ion be ween he a is and he o ganisa ions (1994:
128).
The e is hus an a is ic-ad e ising campaign o he poli ico- eligious powe
du ing he Ancien Empi e wi h a li e a y basis ha shows he schola ly
adi ion o communica i e pe suasion by eligious and poli ical powe , wi h
an e e nal in e es in ad e ising (McDaniel, 1986; Pe cy, 2000; Mulyanega a,
Tsa enko, Ma ondo, 2010).
Al hough eligious p opaganda has exis ed since he beginning o mankind,
he e is e idence ha om 2686 and 2181 B.C., a hough ul image campaign
began o be unde aken o demons a e sup emacy and gain adhe en s o powe
(Kelly, 1982), in esponse o he social e ol s ha had been de eloping in he
lowe s a a (Ha wing, 2014) and ha had been aising coun e -p opagandis
mo emen s (Taylo , 1995), wi h a eal display in quali y and quan i y o he
a chi ec u al a s. In his way, une a y a chi ec u al cons uc ions eme ge as
one o he mos ou s anding his o ical examples o p opaganda a . Thus, he
so-called Egyp ian a , and i s a chi ec u al cons uc ions, is p esen ed, in
essence, as a s yle ull o pa simony, as well as hea icali y and s aging, which
sough o imp ess and impose i sel on he passe -by, he ai h ul and he sla e.
METHODOLOGY
This a icle akes as i s subjec o s udy he a chi ec u al ensemble o Giza,
wi hou o ge ing o he py amids sca e ed h oughou he A abian e i o y.
This sys em was, a he ime, he mos impo an in he e i o y in economic,
social, eligious and a is ic e ms.
The main objec i e o his esea ch is o es ablish he lines on which he b and
image o he Ancien Empi e is buil , as well as i s managemen in
communica i e e ms. In o de o achie e his objec i e, we p opose a
me hodology ha , be o ehand, s a s wi h he analysis o a sample o
a chi ec u al wo ks o he Ancien Empi e such as he whole o he Nile
Valley: The G ea Py amid o Keopso o Khu u (-2547 o -2530), he Py amid
o Kha a (-2519 and -2493), and he Py amid o Menkau a (-2489 and -2471),
so ha he inal sample has been 3 wo ks.
A e con ex ualising he a chi ec u al ensemble ollowing he analy ical line
o Jowe and O'Donnell (1986), we app oach he wo ks in communica i e
e ms h ough a discu si e analysis o he wo ks by a key au ho : Le y (2004),
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MANAGEMENT IN THE CASE OF THE CLASSICAL PYRAMIDS OF GIZA. PJAEE, 18 (2) (2021)
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who p o ides us wi h he dis inc ions she makes in a wo k o a be ween he
p opagandis , he message and he dissemina ion. Once he ac o s o
p opagandis ic communica ion ha e been iden i ied, a e lec ion on he wo ks
in e ms o b anding is ca ied ou . In b anding, he b and image is placed in
he sphe e o he ecei e wi hin he gene al p ocess o communica ion,
assuming he esul o he in e p e a ion made by he di e en audiences,
isualising, ansla ing and in e p e ing a se ies o cogni ions, emo ions and/o
beha iou al pa e ns (Cap io i, 2009). In a social con ex wi h an illi e a e
popula ion, he analysis o he h ee py amids is e en mo e ele an in hese
e ms, since he image ha powe p ojec s on he minds o i s publics is one o
he main sou ces o in o ma ion o he ci izens o he ime. Mo eo e , his
image has been con igu ed as he main symbol o he en i e Egyp ian
ci ilisa ion, and is, in u n, he emblema ic image o Egyp oday.
RESULTS AND DISCUSSION
Analysis o he a chi ec u al ensemble as a b anding ool o poli ico-
eligious powe
Religion was he basis o li e in Egyp , and as a socie y ha belie ed in li e
a e dea h, une a y a was o p ima y impo ance. The py amids, such as he
py amid o Cheops (2589 BC - 2566 BC), a e he symbol o Egyp ian a , and
we e he esidences, illed wi h p ecious objec s and pe sonal belongings,
which he pha aohs o de ed o be buil o house hem a e dea h. The de ining
cha ac e is ic o Egyp ian a in gene al is undoub edly Colossalism, bo h in
a chi ec u e and sculp u e. This was in ended o honou no only he gods, bu
also he pha aoh, who was one o hem. In ac , sculp u es o he pha aoh who
had inanced i we e placed on he açade o he emples. Thus, in bo h he
P o o-Dynas ic and Impe ial pe iods, cold and di ec p opaganda a was
p oduced, o disp opo iona e size, and in which he bounda ies be ween
poli ical and eligious powe we e qui e blu ed.
A nold Hause explains he si ua ion in which he Egyp ian a is ound
himsel as ollows:
The main and o a long ime he only main aine s o a is s we e p ies s and
p inces [...]. In he wo kshops o hese pa ons he a is s wo ked as ee o
o ced labou e s, as hi ed labou e s o as sla es o li e. […]
Thei c ea ions consis ed o he mos pa o o e ings o he gods and oyal
monumen s, o accesso ies o he wo ship o he gods o he mona ch, o
ins umen s o p opaganda ha se ed ei he he ame o he immo als o he
pos humous ame o hei ea hly ep esen a i es (1994: 46).
I should no be o go en ha , al hough he a is was no a sla e, his wo k
was ca ied ou wi hin he na ow limi s imposed on him by kings and p ies s.
Fu he on, Hause s a es ha "each [ he king and he p ies ] sough in he
a is an ally in he s uggle o he main enance o powe " (1994: 47).
In sho , he o igin o a as p opaganda is inhe en o he appea ance o he
i s hie a chical socie ies. As Pé ez Laga cha explains in a chap e de o ed o