Monday, October 23, 2017

AWOL - The Ancient World Online: New From the Oriental Institute: Book of the Dead: Becoming God in Ancient Egypt
On 10/05/17 11:44, Charles Jones wrote:
New From the Oriental Institute: Book of the Dead: Becoming God in Ancient Egypt Book of the Dead: Becoming God in Ancient Egypt
Edited by Foy Scalf

Purchase Download Terms of Use
Discover how the ancient Egyptians controlled their immortal destiny! The book explores what the Book of the Dead was believed to do, how it worked, how it was made, and what happened to it. Presenting the newest research on the Book of the Dead through text and elaborate imagery, one learns what the Book of the Dead meant to ancient Egyptians and how they sought to live forever as gods. There are nearly 400 illustrations, including the famous Papyrus Milbank.

Table of Contents

Introduction: Preparing for the Afterlife in Ancient Egypt. Foy Scalf
List of Contributors
Egyptian Chronology
Map of Principal Areas and Sites Mentioned in the Text

1. What Is the Book of the Dead. Foy Scalf
2. The Origins and Early Development of the Book of the Dead. Peter F. Dorman
3. Language and Script in the Book of the Dead. Emily Cole
4. The Significance of the Book of the Dead Vignettes. Irmtraut Munro

5. How a Book of the Dead Manuscript Was Produced. Holger Kockelmann
6. The Ritual Context of the Book of the Dead. Yekaterina Barbash
7. Transmission of Funerary Literature: Saite through Ptolemaic Periods. Malcolm Mosher Jr.
8. The Archaeology of the Book of the Dead. Isabelle Régen

9. Divinization and Empowerment of the Dead. Robert K. Ritner
10. The Mysteries of Osiris. Andrea Kucharek
11. Gods, Spirits, Demons of the Book of the Dead. Rita Lucarellli

12. The Death of the Book of the Dead. Foy Scalf
13. The Rediscovery of the Book of the Dead. Barbara Lüscher
14. Necrobibliomania: (Mis)appropriations of the Book of the Dead. Steve Vinson

-- Human Remains
-- Linen Bandages
-- Heart Scarabs
-- Sarcophagi and Coffins
-- Papyri Cases
-- Papyri
-- Magic Bricks
-- Funerary Figures
-- Stelae
-- Tomb Reliefs
-- Statues and Figures of Deities
-- Scribal Materials
Checklist of the Exhibit
Concordance of Museum Registration Numbers
  • Oriental Institute Museum Publications 39
  • Chicago: The Oriental Institute, 2017
  • ISBN-13: 978-1-61491-038-1
  • Pp. 376; 373 illustrations (most color)
  • 9 x 11.5 inches, paperback
  • $34.95

For an up to date list of all Oriental Institute publications available online see:

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Fwd: The Sun Temple of King Niussere (Rathoris)
On 10/15/17 06:40, Charles Jones wrote:
The Sun Temple of King Niussere (Rathoris)
The Sun Temple of King Niussere (Rathoris)
published by Friedrich Wilhelm Freiherr von Bissing Professor at the University of Utrecht
Volume II: The Small Festival Description
by Friedrich Wilhelm Freiherr von Bissing and Hermann Kees 

J.C. Hinrichs' Bookstore 1923


Translated from German by: Stardust Doherty (with assistance from Bernhard Ruchti, Jean Daniel DEGREEF, and Christoph Hemmer). Translation comments appear in {curly brackets}. Translation uses Manuel de codage transliterations. 

Note from Jean Daniel DEGREEF: The order of the rituals is the opposite of that adopted by Kees (the procession marks the beginning of the festival, not its end; the foundation occurs on the last day, see DEGREEF, 2009, on This can be seen thanks to the great similarities with the New Year Festival on pBrooklyn 47.218.50 and by the numbering of the registers in the scenes at the temple of Soleb. None of these had been published when Kees wrote this book.

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Egypt's Ancient Capital

Welcome to Memphis, Egypt's first capital city and a UNESCO World Heritage Site. Memphis was once a vast settlement, with magnificent temples, palaces and ports.

Rulers of Egypt were buried in pyramids near to the city. Without Memphis, the world famous Pyramids of Giza may never have existed!

The temples of Memphis were some of the most important in Ancient Egypt. The only other ancient Egyptian city that you could compare it to would be Thebes (Luxor). Yet today we know far less about Memphis.

Soon, for the first time, you will be able to explore seven newly opened sites of this once bustling ancient city. Until then, you can visit a large collection of impressive statues, sphinxes and sarcophagi in the Memphis Open-Air Museum.

Unlike many sites in Egypt, much of Memphis has not been rebuilt. Its temples, chapels and tombs can be seen as they would have looked when first uncovered by archaeologists.

Open Air Museum

Incredible artefacts can be found here, including Egypt's second largest Sphinx and a colossal statue of Ramesses II.

Read more >

Ramesses II Chapel

Discovered by accident, this small chapel was frequently reused over time and has many interesting stories to tell.

Read more >

Hathor Temple

Beautiful tops of columns carved into the shape of the goddess Hathor's head can be seen at this unique temple.

Read more >

Ramesses II Temple

Detailed inscriptions and carvings cover the walls of this temple. It was once the private sanctuary of Ramesses II himself.

Read more >

Seti I Chapel

This partially reconstructed chapel has examples of what were, at the time, some of the most beautiful inscriptions in all of Egypt.

Read more >

Tombs of the High Priests

These tombs belonged to four members of the same family and have an unusual two-storey design with a triangular roof.

Read more >

Apis House

This unique embalming house was where the Apis Bull was mummified on giant alabaster beds which are still in place today.

Read more >

Ptah Temple

A vast field of ruins is all the remains of this enormous gate that once allowed access to the Great Temple of Ptah.

Read more >

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BWW Review: World Premiere of THE PRINCE OF EGYPT is Magnificent

BWW Review: World Premiere of THE PRINCE OF EGYPT is Magnificent

This weekend saw the TheatreWorks world premiere of The Prince of Egypt, which first came to life almost 20 years ago as a DreamWorks animated movie of the same name. Taking its cue more from Cecil B. de Mille's "The Ten Commandments" and less so from the Bible, Philip LaZebnik's musical book creatively reimagines Moses as "spare to the heir" behind his adoptive brother Ramses in this retelling of the Exodus story. Coupled with Stephen Schwartz' rich and nuanced score and lyrics, and an absolutely dynamic, multi-ethnic international cast, this epic saga of two brothers caught up in a destiny-defining relationship is altogether magnificent.

Universal themes converge with intimate personal story to great effect in director Scott Schwartz' more than capable hands. In the opening scene, he beautifully connects the audience to the grand complexities of all human life, poignantly portraying the fickleness of fate and the accident of birth without a word. As a trumpet sounds, anonymous actors walk onto the stage. Bending down, their hands sift through the sands of time and then fate assigns them roles. One picks up the oppressor's whip, another dons the head wrap of a slave. Soon, slave children are slaughtered but one will miraculously survive. So much is out of their control, but can a spark of the divine within humanity help them to make the world a better place?

It's a telling tableau and one that's enhanced by Kevin Depinet's scenic design, which is effective in its simplicity. A jagged scrap of sky overlooks the dismal desert sands, ancient even then in the time of the pharaohs. It serves as the backdrop to the stone blocks used throughout the show that magically become the throne of Pharaoh Seti, a majestic barge on the Nile and a secret chamber where Moses and Ramses hide away from the world confiding their hopes and fears to each other. Weighty topics to be sure, but boys will be boys as the saying goes and soon enough a mischievous Moses (the remarkable Diluckshan Jeyaratnam) laughingly challenges his brother Ramses (an equally talented Jason Gotay) to a chariot race.

The careening carts and horses are one of the most amazing examples of stagecraft and choreography in recent memory. The rigs are made up entirely of dancers upon whom the privileged princes sit, capes blowing in the wind as they carelessly wreak havoc on the marketplace and reduce a temple to rubble in their quest for a good time. We can thank choreographer Sean Cheesman for this rapturous ride. (Later, he gives us a human river that carries the precious cargo of baby Moses into the arms of Queen Tuya --playEd Strongly by Christina Sajous -- and the writhing, burning bush that will lead a more subdued Moses to seek an end to the slavery of his people.)

Naturally, Pharaoh Seti (Tom Nelis), upon whose shoulders the weight of the empire sits, is not happy with either of his sons. Moses seeks to take the blame, but his father metes out his most caustic remarks to Ramses, who will one day succeed him. "One weak link can break the chain of a mighty dynasty," he booms as both boys slink away in shame.

LaZebnik adeptly defines the two princes, imbuing them with very human qualities and the differences that will one day separate them. Ramses desperately wants his father's approval while Moses' position as "the spare," doesn't stop him from hoping to do something that will last long after he's gone. He gets his chance once he meets his birth sister (Julia Motyka) and brother (David Crane) and discovers his Hebrew heritage. Now he can no longer look at the kingdom's slaves in the same light and flees after accidentally killing an Egyptian overseer who was brutalizing one of his people.

Ramses and Moses are aided immeasurably on their separate journeys by strong women. Future queen Nefertari (a talented Jamila Sabares-Klemm) is the epitome of sorrow and strength when her son is killed. And wife Tzipporah (played fearlessly by Brennyn Lark) along with Moses' sister Miriam sing the musical's signature song "When You Believe," giving Moses the courage to go on.

Moses returns, demanding that his brother end the system of slavery but Ramses is persuaded by Hotep the high priest (the wonderful Will Mann) to do his duty as Pharaoh of Egypt. What Ramses doesn't know is that it will take many plagues to get him to change his mind for good.

The tug and pull of brotherly love versus the power of the patriarchal system -- more ancient than Egypt itself - is magnified in LaZebnik's alternative ending to the Exodus narrative, as Pharaoh Ramses cannot, in the final analysis, kill his brother or the Hebrew people. Instead, it is Hotep and the priestly caste who follow the Hebrews into the Red Sea and there, meet their doom.

The best of stories leave us with more questions than answers. The Prince of Egypt asks us to ponder the systems and circumstances that controlled the fates of two princes and their peoples. There in the churning waters of the Red Sea, tribalism and the pitting of "us against them" reigned victorious. Hopefully, this new production will help us find another way forward together.

The Prince of Egypt
Book by Philip LaZebnik
Music and Lyrics by Stephen Schwartz
Directed by Scott Schwartz
Presented by TheatreWorks Silicon Valley, now through Nov. 5
Mountain View Center for the Performing Arts
Photo courtesy of Kevin Berne

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Sarah Schachner Sojourns to Ancient Egypt For 'Assassin's Creed Origins': Exclusive Soundtrack Premiere | Billboard

Click on this link for the main theme. For more video previews and examples of Schachner's music, go to the web page:

Stalk Like An Egyptian: Sarah Schachner Sojourns to Ancient Egypt For 'Assassin's Creed Origins' Score (Exclusive)

Courtesy Photo
"Assassin's Creed Origins" Original Game Soundtrack

Four years in the making, Assassin's Creed Origins takes gamers back to ancient Egypt with composer Sarah Schachner setting the tone. The Ptolemaic-era setting was at the request of fans polled in 2011 as to where they'd like to see the time-traveling series land. Schachner's return to the Ubisoft franchise for this third installment seems inspired by popular demand, too, after well-received turns on 2014's Assassin's Creed Unity and 2013's Assassin's Creed IV: Black Flag.

The stakes couldn't be higher. Assassin's Creed is Ubisoft's top franchise, surpassing 100 million units sold as of 2016, according to the company. This tenth title in the series follows a two-year hiatus that has created great expectations from a base built around an annual release schedule.

Polly Antonia
Sarah Schachner

"Sarah is a triple threat: a great composer, arranger and performer," Ubisoft music supervisor Simon Landry told Billboard. "This allowed her to develop a unique signature that combines authentic elements from the game's time period with contemporary music scoring." That approach meshes well with the game -- a mash-up of historical fiction with the latest in visual storytelling and interactive techniques. 

The Assassin's Creed Origins Original Soundtrack is available simultaneously with the game on Oct. 27, via all major downloading and streaming platforms for $9.99. Billboard exclusive premieres five tracks in full below.

Schachner is no stranger to time travel. She pirated the high seas with her mentor, BrianTyler, for Black Flag, playing multiple instruments and contributing additional music. As sole composer, she tackled Baroque classical for the French Revolution action of Unity and hurtled into the future with Activision's intergalactic Call of Duty: Infinite Warfare. In the midst of it all, HBO chose Schachner's Unity theme, "Rather Death Than Slavery," for the season five trailer to Game of Thrones. (Batting one back across the net, Ubisoft features Leonard Cohen's "You Want it Darker" on the Origins trailer.)

"The interesting thing about Origins and B.C. Egypt is we don't actually know what the music really sounded like," Schachner told Billboard on the eve of Origins' release. "Historians and archaeologists have ideas, and can make assumptions based on later time periods and what is known about instruments of the region, but it's not like we have recordings." For Schachner, who performed all the music herself, that was an invitation to let her imagination roam. "I wanted to create a hybrid sound of old and new with an air of ambiguity and mystery to represent this otherworldly culture that was so immersed in mythology," she explained.

The action plays out circa 50 B.C., with Julius Caesar and Cleopatra in supporting roles as the story explores the ongoing battle between the Brotherhood of Assassins, who believe in peace through liberty, and a secret cabal suggestive of the Templar Order, who pursued peace through imposed order.  To support the premise, Schachner improvised, pairing a "Blade Runner-esque" CS-80 synthesizer with ancient instruments that "always bring you back to the sand." These include the oud, a modern relative of the fretted, plucked lutes of the time, and lyres, bells and winds, all "processed in ways to make them less obvious, as the focus was more on custom sounds and the feelings they evoke."

With rich historical material to explore, Schachner doesn't expect to tire of adventuring among Assassins anytime soon. "Each entry is a fresh creative opportunity to do something new, so as a composer, returning to the series never feels tiring or stale. The sci-fi context makes it even more amazing allowing you to interpret the music of the period in your own way and give it a unique voice."

Schachner gave voice to a bit of period gaming. Her "Ezio's Family: Origins Version," the closing to her 27-track recorded score, is an update on the iconic theme the first Assassins composer, Jesper Kyd, originated in 2009. "There is so much beauty in these games, to provide the emotional context is the best part," she said.

In addition to her video game work, Schachner made her solo film score debut with 2015's The Lazarus Effect, starring Olivia Wilde, Mark Duplass and Donald Glover. Recently she contributed to the Cassini Finale Music Project, a trilogy celebrating the end of the Cassini Mission from NASA Jet Propulsion Laboratory.

Assassin's Creed Origins tracklisting: 

  1. Assassin's Creed Origins Main Theme 
  2. Return of the Medjay
  3. Bayek of Siwa
  4. The Shimmering Sands
  5. The Battle of Krokodilopolis
  6. The Tongueless Land
  7. Legions of Blood
  8. Dead Kings and Living Gods
  9. Fire in the Duat
  10. Born of the Sun
  11. Winds Of Cyrene
  12. I Walk on Your Water
  13. The Order of Ancients
  14. Nomads of the White Desert
  15. Be My Eyes
  16. The Cracked Wall
  17. The Alexandrian Pleiad
  18. Desert Delirium
  19. Apep's Vengeance
  20. Across the Dunes
  21. The Last Medjay
  22. Chthonic Invasion
  23. A Divided Land
  24. Ptolemy's Lament
  25. The Hyena's Fire
  26. Moonlight on the Nile
  27. Ezio's Family (Origins Version)
    Courtesy Photo
    "Assassin's Creed Origins" Original Game Soundtrack
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Swiss tourists pay 800 euros to fly abused donkey in Egypt to Switzerland - Egypt Independent

Swiss tourists pay 800 euros to fly abused donkey in Egypt to Switzerland

A group of Swiss tourists visiting Egypt were angered by how one donkey was brutally treated near the Giza Pyramids so they decided to buy it, rescue it, medically treat it and fly it with them to Switzerland.

The Swiss tourists were at Sakkara this week where they found a donkey with traces of torture, and severe wounds. They offered its owner money so they could take it, but the owner refused, Mohammed al-Nawawi, head of the Brooke Hospital for the treatment of donkeys and horses told Al Masry Al Youm.

The tourists later contacted the Ministry of Antiquities and the tourism police, where they escorted the donkey owner to the police station, and reached an agreement for the Swiss tourists to pay 800 euros for the donkey.

The donkey is now at Brooke Hospital for treatment until the completion of the necessary travel procedures.

"The tourists also attempted to take legal procedures against the abuser, accusing him of torture," president of the Society of Friends of the Animals said.

Mona Khalil, head of the Animal Welfare Society, told Al-Masry Al-Youm that putting the donkey in an Egyptian hospital would have been a disaster, adding that she believes the Swiss tourists shouldn't have paid the money.

"It's unfortunate that Brooke hospital cancelled its residence program, and other veterinary units are usually negligent in the way they treat and care for donkeys," she said.


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Alexandria’s Eliyahu Hanavi Synagogue not on UNESCO List of World Heritage in Danger: Ministry - Ancient Egypt - Heritage - Ahram Online's-Eliyahu-Hanavi-Synagogue-not-on-UNESC.aspx
Alexandria's Eliyahu Hanavi Synagogue not on UNESCO List of World Heritage in Danger: Ministry
Nevine El-Aref, , Monday 23 Oct 2017

Egypt's Ministry of Antiquities has released a statement denying reports on social media that Alexandria's Eliyahu HanaviSynagogue has been placed on UNESCO's List of World Heritage in Danger.

Yasmin El-Shazly, the General Supervisor of the Department of International Organisations for Cultural and the International Cooperation, said in the statement that the site was declared endangered by the World Monuments Fund, a non-profit NGO that is not part of UNESCO.

El-Shazly said that according to the rules and regulations of this fund, any person or entity can nominate any archaeological building to be placed on the list of this fund without ascientific study proving that the building is in danger.

"The Egyptian government gives equal importance to all its monuments and heritage sites, whether Ancient Egyptian, Jewish, Coptic or Islamic," El-Shazly asserted.

El-Shazly said that the Egyptian government has allocated EGP 100 million to finance the restoration of the synagogue, which started in August and will last for eight months. El-Shazly added that this affirms the Egyptian government's keenness to protect and preserve the synagogue as part of Egypt's heritage and identity.

Waadalah Abul-Ela, the head of the Projects Department at the antiquities ministry, said that the work on the synagogue aims to restore its architecture and fine decorative elements, as well as the lighting and security systems.

The Eliyahu Hanavi Synagogue is located in Nabi Daniel Street in downtown Alexandria and is the oldest synagogue in the city.

It was originally built in 1354 but was partially destroyed by the Napoleon expedition in 1798 in order to build a defensive wall from the Kom El-Dikka area to the Mediterranean.

In 1850, the synagogue was reconstructed with contributions from the royal family.

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Sunday, October 22, 2017

Luxor News - Jane Akshar: The evolving portrait of Deir el-Medina by Dr Cedric Gobeil, 10th Februa...

Video <>

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99 Artifacts seized by Police in Upper Egypt - Egypt Today
Antiquities - File Photo

99 Artifacts seized by Police in Upper Egypt

Sat, Oct. 21, 2017

CAIRO – 21 October 2017: The Egyptian Tourism and Antiquities Police managed to seize around 99 artifacts from two citizens in Assiut.

The accused attempted to search for antiquities under their home. They wanted to sell the discovered artifacts for LE five million.

Police found twelve limestone Ushabties, pottery statues, a statue made of black basalt, gemstone collections, and 80 historical coins in their home.
The artifacts dated back to different eras, such as the Ancient Egyptian, Greek and Roman periods.

The police also found a four-meter deep hallway connected to a crypt.

Assiut Antiquities checked the seized artifacts. It verified their historical importance and confirmed that the seized artifacts are antiquities.
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Egyptian officials join hundreds of tourists to watch bi-annual solar illumination of King Ramses statue - Ancient Egypt - Heritage - Ahram Online

Egyptian officials join hundreds of tourists to watch bi-annual solar illumination of King Ramses statue

A smaller event took place of previously planned festivities in mourning of 16 police officers killed by terrorists on Friday

Ahram Online , Sunday 22 Oct 2017

(Photo: Ahram Arabic Gate)
Egyptian officials joined hundreds of tourists on Sunday to watch the bi-annual phenomenon of the solar illumination of the statue of King Ramses II at Abu Simbel in Aswan governorate.

"The sun illuminated the face of the king for 20 minutes starting at 5:53am," announced Hossam Aboud, the director of Abu Simbel Temple, where the event took place.

Twice each year, the morning sun shines briefly through the temple's entrance into the dark inner chamber, lighting up three of the four 22-metre-high statues within.

On Saturday, the governor of Aswan cancelled wider festivities in mourning of the 16 police officers who were killed in a shootout with terrorists in the Western Desert earlier that day.

However, a smaller event at the Abu Simbel Temple site took place, with Tourism Minister Yehia Rashed, Culture Minister Helmy El-Namnam and Aswan Governor Magdy Hegazy in attendance.

"The solar illumination of Ramses is a 33-centuries-old phenomenon that reflects the huge scientific achievements of ancient Egyptians," Minister of Antiques Khaled El-Enany told Al-Ahram.

"The unique phenomenon occurs twice a year: on 22 February in celebration of the start of the harvest season; and on 22 October, the beginning of the season of agriculture and floods," he added.

One of Egypt's most powerful pharaohs, Ramses II had the temple carved into a sandstone mountain on the banks of the Nile to align with the sun twice a year — in February and October — to celebrate his birthday and ascension to the throne.

In the 1960s, the temple was relocated to make way for Lake Nasser, the man-made reservoir of the Aswan High Dam.

The solar alignment has since occurred on the 22nd of February and October every year – one day later than the original date.

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