THE CHARM IN EGYPT. The role of pre-and post-unification of Italy in the rediscovery of ancient Egypt. From March 12 to October 2, 2011 Orvieto, Museo "Claudio Faina" and Palazzo Coelli
A major exhibition on Egypt will be held from March 12 to October 2 in Orvieto . The jointly proposed and organized the Foundation for the Museum "Claudio Faina" and Fondazione Cassa di Risparmio di Orvieto in their two locations, one facing and the other near the square that houses the famous Dome of the Umbrian city.
should immediately be made clear that it is a further step in a "show tour". This coordinated by Joseph M. Della Fina, scientific director of the Foundation for the Museum "C. Faina, and curated by Egyptologist Elvira D'Amicone of Superintendence for Archaeological Heritage of Piedmont and the Museum of Egyptian Antiquities in Turin and Massimiliana Pozzi (Archaeological Cooperative Society) is an original exhibition, designed specifically for Orvieto. It will bring together about 250 objects - many of them of great importance - granted by a dozen museums and Italian cultural institutions.
The subtitle makes it clear cut that scholars have wanted to give this large, important event, "The role of pre-and post-unification of Italy in the rediscovery of ancient Egypt," which is what the Egyptologists have left our country been able to do around the banks of the Nile, attracted there by the spirit of adventure, sometimes the thirst for easy money, many other objective of increasing knowledge on the ancient Land of the Pharaohs. "The charm of Egypt, called by the show's title, crossing at least three thousand years of human history. From the land of Egypt were taken cultural ideas, cults, deities, customs, and then, as if to capture a sense of mystery and eternity of the magical civilization, were removed material evidence: they were the great obelisks reached Rome, or what was stolen from the graves. A fascination with ancient infected the Middle Ages and the Renaissance when enchanted princes and intellectuals considered findings were fighting more than just archaeological curiosities.
But at the end of the eighteenth century and especially during the nineteenth century that sand and oases of Egypt are beaten every inch of Europe, and among them many Italians, in search of what remained of a neglected era from Turkish domination.
The modern Egyptology has a precise date of birth, the year 1822, when Jean-François Champollion deciphered, thanks to the Rosetta stone, the hieroglyphic writing. With him, in a joint Franco-Tuscan expedition that traveled to Egypt (1828-1829), was the Italian Ippolito Rossellini.
In fact, as the exhibit documents, involved in a "race to Egypt" were men who often united to the charm of the Pharaohs to the antiquarian trade. Two of them have created the basis for many museums. Giovanni Battista Belzoni, Padova, the first to enter the pyramid of Khafre and the rock temple of Ramses II at Abu Simbel, the entrance of sumptuous tombs in the Valley of the Kings and put together for his patron Henry Salt, the founding core of the Egyptian collection at the British Museum , not to mention his hometown where he tied some important findings. The second, Drovetti Bernardino, Piedmont, the French consul in Egypt, bringing together a vast collection of no less than that sold to the Savoy, is now the core assets of another museum, the Egyptian Turin.
Two stories in an era that saw many Italian players in Egypt . The exhibition of stories presents many curious. Like that of Luigi Vassalli , Milanese painter and intellectual, that the role of political passion and patriotic Risorgimento took exile in Egypt where he became a collaborator and a talented Egyptologist Auguste Mariette in the Egyptian Antiquities Service as inspector of the excavations. He was responsible for numerous initiatives in the emerging field of Egyptology Italian and a short direction of the Egyptian collection of the Archaeological Museum of Naples.
But Carlo Vidua and Egyptology Italian Giuseppe Acerbi that represent important people. But it is the figure of Ernesto Schiaparelli, "The charm of Egypt" focuses more broadly. Schiaparelli discovered the Tomb of Nefertari and the tomb of Kha, the royal architect, it is perfectly preserved, before being director of the Egyptian Museum in Florence and then to Turin.
curious maze of relationships and contact points among the many stories that deal with rich archaeological heritage and resulting in the show from the account. Showcase after showcase Egypt is the most beautiful to be revealed.
The observation of prehistoric tombs and artifacts from the same period, revealing the high technology characteristic of Egyptian culture at this stage, takes the visitor to understand Egyptology as the Italian has failed even the less well-known Egyptian prehistory.
the footsteps of the Italian archaeological missions, you will see elements of funerary artifacts that illustrate how various ages who come from Middle Egypt, dating back to 1900 BC , and others who come from Valley of the Queens and dated to 700 BC.
The many ideas offered by the exposed materials can address in a comprehensive way some aspects of daily life in ancient Egypt, to examine issues such as preservation of fascinating material such delicate fabrics, and to analyze the information that researchers can draw from contemporary cutting-edge diagnostic tests.
THE CHARM IN EGYPT. The role of pre-and post-unification of Italy in the rediscovery of ancient Egypt
Orvieto, Museo "Claudio Faina" (Piazza del Duomo, 19) and Palazzo Coelli, seat of the Fondazione Cassa di Risparmio di Orvieto (Phoebe Piazza, 3).
Show sponsored by the Foundation for the Museum "Claudio Faina" and Fondazione Cassa di Risparmio di Orvieto.
Show coordinated by Giuseppe Della Pina, Elvira D'Amicone organized by the Superintendence for Archaeological Heritage of Piedmont and
Museum of Egyptian Antiquities in Turin and Maximilian Pozzi (Archaeological Cooperative Society).
Hours: 9.30 to 18.
Information and reservations: tel. 0763-341511 and 0763-393835
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Conference of the Friends and associates of the Egyptian Museum - Turin, February 7 to May 2 2011
February 7, 2011 - May 2, 2011
Monday, February 7, 18:00
Anna Ferrari
wonderland: Egypt in Greek mythology and Roman
Monday, March 7, 18:00
Lidia Brahmins
Egyptian Myth and ethics in the thought of Mozart's Masonic
Monday, April 4, 18:00
Sergio Pernigotti
life of a village the Ptolemaic and Roman Egypt: Bakchias
Monday, May 2, 18:00
Alessandro Bongioanni
Egypt Caligula
Free admission subject to availability For information
011-5617776
Location of the event
National University Library Auditorium, Piazza Carlo Alberto, 3 - Torino
(Taken from: http: / / www.archaeogate.org/egittologia/event/1266/conferenze-dellassociazione-amici-e-collaboratori-del-m.html
Lidia Brahmins
MOZART MASSON AND REVOLUTIONARY
(Taken from: http:/ / www.brunomondadori.com/scheda_opera.php?ID=1816 )
that Mozart had joined the Freemasons became well known to many. Not everyone knows, however, as this accession, which led him to forge strong links with the lodges in Vienna, he fueled in him the draft to create a secret society inspired by the fundamental values \u200b\u200bof the Masonic tradition.
regular visitor to the intelligentsia more progressive era, a man of great humanity and unique culture, in possession of a selected library, Mozart was not only the immortal composer that everyone knows and even the fickle and children that many have described. Awkward and irreverent, in the course of his life he cultivated the Enlightenment ideals of freedom and equality without ever yielding to the ideological tendencies of the great historical and cultural patchwork of which was a part: yet convinced libertarian use of hostile violence, a fervent anti-clerical who also cultivated a strong sacred vision of life, Mozart was an artist able to give people a great lesson of our age of modernity.
marks his unique worldview - not quite comparable to the currents that would have resulted in the French Revolution - also the element alchemy and esoteric.
Dismantling the romantic cliche of the musician is completely absorbed by his work and alien to the world around him, Lidia creates a Brahmin-documented and systematic reconstruction of Mozart's complex world, reducing it to a conception unit in which to speak is the last great works for the theater, from The Marriage of Figaro to Clemenza di Tito, through Don Giovanni, Cosi fan tutte and The Magic Flute.
CONTENTS
I. Literature, ethics and politics in the thought of Freemason Mozart
1. A complex personality and consciousness. Theories, the people, the selected library: a mesh of relationships and limited consistent
2. Political references in the circle of Freemasons and the Illuminati of Bavaria: Sonnenfels, van Swieten, Blumauer, Born, Wieland, Pezzl, Mesmer, Ziegenhagen
3. Individual ethics and social
Loyalty and legally guarantee in Thamos, König von Aegypten KV345 (366th) - The allegory of moral Gebler in ancient Greek sources and modern reworkings: Télémaque Fenelon and Sethos of Terrasson - The raid the supernatural to sanction the condemnation of the unjust, as Semiramis, in Don Giovanni and Magic Flute - The concept of death mediated by Giordano Bruno and merged in Moses Mendelssohn's Phaedo
4. A bold project: to found a company called secret cave. Nature to hear Mozart
5. The freedom and erotic costumes mediated, among others, by Beaumarchais, Molière, Mesmer, Wieland, Ziegenhagen, Diderot, Pezzl, Blumauer, Oetinger
6. Mozart and the thought of the late eighteenth century Masonic
7. Rosicrucian influences
8. Alchemy, mysticism, ancient myth and Freemasonry
9. News of thought Mozart
II. The long initiation
1. The sixties. Apollo, the rose, the dead friend, the natural affection
2. 1772-1773. Even Apollo
- "the oppression": The king shepherd and legal certainty
3. 1777-1778. Mannheim, Monaco, Augusta, Paris
- The legendary East: Semiramide
4. 1779-1780. The legendary East: Zaide
- The discovery of a fragment Air Die neugeborne Ros'entzückt KV365a, composed by Mozart for the two nights of frantic Gozzi, comedy in which assets are some situations in the Marriage of Figaro
5. 1781-1783. The Abduction from the Seraglio ol'elogio tolerance
6. 1784-1785. Years of initiation
- Dir, Seele des Weltalls or Sonne KV429 (468th), the Lied zur Gesellenreise KV468 initiation of Leopold
- Die Maurerfreude KV471
- Death in Trauermusik KV477 (479th) and Lieder KV483a and KV483b, lost
- The Lied der Freiheit "(" Song of Freedom ") KV506, for voice and piano, text by Blumauer
7. 1786
8. 1787. The Mozart Stammbuch
- The Stammbuch of Kronauer
- The Lied KV518 Verschweigung Die ("The commitment to remain silent") and the shadow of Orpheus
9. 1788. Pacifism
10. 1789-1790. Zur Hoffnung gekrönten
- A work of many hands: The Philosopher's Stone
11. 1791. The year of death. Children's rights
- The last steps
- The funeral
III. Le nozze di Figaro
1. The assumption of the political marriage of Voltaire, and Beaumarchais Pezzl
2. Compassion: to suffer together as the value on which to build individual and collective ethics
3. Cherubino: a being suspended between childhood and adulthood, including processing and fantasy, between homosexuality and heterosexuality
4. The happy ending is a project
5. The birth of The Marriage of Figaro in the memories of Leopold Mozart, Lorenzo Da Ponte, Michael Kelly
6. The belief in the role of Mozart's comedy
7. The mask and fiction
8. Following action and music: the space bounded by the suggestion of desire. The theme of forgiveness, leading to extreme consequences of its value Politics in Clemenza di Tito, here is an existential challenge
- Act One
- Act II
- Act Three
- Act IV
IV. Don Giovanni
1. The moral condemnation of Don Giovanni
- Falstaff from Shakespeare to Moliere's Don Giovanni
- The animated statue, from Plato's Meno to Sethos of Terrasson
- Deception without deceit of the oracles in Sethos Terrasson: the encounter between magic, divine and artistic
- Shakespeare's The otherworldly voice in contamination between Semiramide and Don Gioovanni
- The encounter with death and the supernatural in a Masonic Tafelloge, which is enshrined in the moral condemnation of Don Giovanni
- The hand in the tradition of magic and medicine and the character heads sculptor Messerschmidt as illustrations of the theories of Mesmer
- The statue of Kirkby as automaton and Automathes
- occult philosophia Renaissance to the eighteenth-century Masonic currents: the art of memory in Pico, Camillo, Ficino, Bruno. The statue, which moves in the hermetic thought, from dies Egyptian, Classical and Neo-Platonic influences to the Shakespearean
- Death in the Phaedo of Mendelssohn and Goethe Clavigo
- The relationship with the ' afterlife in Percy Hannah More
- the property frenzy of Don Giovanni
2. Comic and tragic
3. Eroticism and happiness. Tristia of Ovid
4. Direct and indirect sources, genesis and first performance
5. The endless reading of Don Giovanni
6. Musical clues: the transformation initiation of couples. Donna Anna, Don Ottavio, Zerlina and Masetto, obsessive control the inaction of Don Giovanni, Leporello and Donna Elvira
V. Così fan tutte
1. Così fan tutte: an experiment in alchemy affective
2. A non-frivolous and not bitter
3. The bet on the fidelity of women
- contempt for the politics of suspicion
- From Arabian Nights to Ariosto
- Shadow of Molière
- The influence of Shakespeare
- The myth of the Phoenix hermetic
- The works of Christoph Martin Wieland and the opportunity to love two people
- The man who violates the feminine: Shakespeare's Lucrece
4. Mesmer and the birth of dynamic psychiatry
5. The Chemical Wedding of Christian Rosenkreutz and Metaphysics in connection with the chemistry of Oetinger
6. Diderot
7. Censorship
8. The rite of loss, detachment and death in Terzettino Zadok The
9. Following action and music from Mozart to the coincidentia oppositorum Jung
- Act One
- Act II
VI. Die Zauberflöte
1. Possible sources and contributions to the text of the initiation Zauberflöte
- A work of enlightenment?
- Grounds Masonic and Rosicrucian in the footsteps of Shakespeare, Terrasson and Wieland
2. The importance of myth in ancient Masonic thought and Music Magic Flute
- An anthropological ground between music and myth greek
- Mythos and Musik: Orpheus, Apollo, Dionysus and the music as mythography substance of the Magic Flute
- Fatal attraction between myth and ancient greek music opera
- The Music of Orpheus myth in European culture
3. Les Fables & Egyptiennes Grecques dévoilées & reduites même au Prince, avec une explication des hieroglyphes et de la guerre de Troye, and the Dictionnaire Mytho-Hermétique Abbot Antoine-Joseph Pernety: symbols and signs of the ancient greek myth and the Egyptian and Eastern esoteric tradition and reworked by the eighteenth-century Masonic
- Hermes Trismegistus
- The hieroglyphs
4. The comic and tragic in the last years of his life and work
5. Following action and music: the Orphic interpretation of classical antiquity and the re-eighteenth-century alchemical myths of Greek and Egyptian, with interpolations Latin
- Act One
- Act II
VII. La Clemenza di Tito
1. The political project Mozart
- The Socialist Ziegenhagen
2. Inspirations libertarians
- From Télémaque Fenelon to Sethos of Terrasson
- Joseph von Sonnenfels: a new conception of justice and punishment
- The Poetry of the Aeneid disguised Aloys Blumauer
- Johan Baptist von Alxinger
- The separation between temporal and spiritual power: a secular vision of the State
- Education and public health. Equality between citizens and states. Abolition of slavery. Pacifism
3. The death of Mozart
4. The birth of Clemenza di Tito
5. A choice of Mozart: the text of the libretto of Metastasio Mazzola, by "the oppression" of the King Shepherd to 'benefit those who were oppressed of Mercy
6. The previous literature of Clemenza di Tito
7. Following action and music in the purity of architectural work scanned in closed forms, the sheet outlines medallions ethical, political and existential. Musically, Tito is dematerialized and became a hero of thought which wants to law
- Act One
- Act II
