Egypt in London, A Cultural History 1821-1924

埃及在伦敦，文化史 1821-1924

• 批准号: AH/I001441/1
• 负责人: Roger Luckhurst
• 金额: $ 5.99万
• 依托单位: Birkbeck, University of London
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI001441%2F1
• 关键词: Egypt; London; Cultural; History; 1821; Egypt; London; Cultural; History; 1821

Egypt in London explores the impact the re-discovery of Ancient Egypt on Victorian and Edwardian London. The starting point is the 1821 exhibition organised by Belzoni in Piccadilly, which recreated a tomb from the Valley of the Kings. The end point is the recreation of the tomb of Tutankhamen, with faked artefacts, for the British Empire Exhibition at Wembley in 1924. In between these dates, the impact of Egypt on English thought and on its literature, theatre, entertainment and architecture was immense. This book will track five elements of that influence. The key research question is why British attitudes shift from treating Ancient Egyptian remains as sublime or places to express the sentiments of 'sic transit gloria mundi' ('so pass the glories of the world') towards an attitude of dread. What dominates after 1880 are stories of cursed artefacts and vengeful Arabs. This is explored in five areas.First, I consider 'Egyptianised London', exotic spaces constructed in London. This began with the Egyptian Hall in Piccadilly but extended to the recreation of Cairo bazaars in early department stores. Dioramas of Egyptian landscapes were popular in the 1820s and 1830s, anticipating the sets in theatrical extravaganzas throughout the century. The Egyptian Court designed for the Crystal Palace was constructed around a recreation of a temple. Such structures were common in world fair sites. The erection of 'Cleopatra's Needle' on the bank of the Thames (1878) brought authenticity, and the engineering task of moving the obelisk marked shifting imperial power. The appeal of Egypt created hybrid spaces within the fabric of London.Second, I explore the darkening attitude to Egypt through rumours of curses attached to mummies in London museums. This is often associated with the death of Carnarvon, six weeks after opening the tomb of Tutankhamen. The rumours of subsequent deaths are the subject of many popular fictions and histories. My research has followed two earlier stories of curses, including the 'Unlucky Mummy' that was gifted to the British Museum in 1889 by Douglas Murray, considered to bring misfortune on those who saw it. No one has fully researched this story, yet it is a key indicator of changing attitudes to Egypt. I also examine the curse story attached to Walter Ingram.Third, I examine how literature of the period also changed from an early use of Egypt as a romantic other-world (Gautier and Flaubert) or as a lever against modern depravity (Mary Loudon or Edgar Allen Poe). The turning point is in the late Victorian period, when Egypt is associated with the Gothic. Vengeful mummy stories appear surprisingly late in the century and often focus on London. These stories appear in the 1880s and 1890s, although the narrative structure of curses related to colonial artefacts is set in train by Lord Byron's attack on the plunder of the Parthenon Marbles. Fourth, Egypt was to antiquarians and Orientalists a place of esoteric wisdom. The Hermetic tradition suggested that the bearer of this knowledge, Hermes Trismegistus, was an Egyptian priest. There was a great revival of 'Egyptian Magic' in Victorian London. Various groups of occultists set up temples, study groups and magic circles to pursue this lost wisdom, which I explore in detail. The final context will be how the study of superstition, given scientific status by the Victorian discipline of anthropology, focused on North Africa as a particular area of primitive belief. By examing the anthropology of the 'evil eye' that emerged in the 1890s, my study concludes by investigating how this superstition was a means for articulating the growing suspicion between coloniser and colonised. London, awash with 'haunted' artefacts and mummies with blazing eyes, demonstrates how the metropolis of modernity figures its colonial debts through supernatural tales and chilling rumours.

伦敦的埃及探索了古埃及对维多利亚时代和爱德华时期伦敦的影响。起点是Belzoni在皮卡迪利（Piccadilly）举办的1821年展览，该展览从国王谷（Kings of the Kings of the Kings of the Kings）中重新创建了一个坟墓。终点是1924年在温布利举行的大英帝国展览的图坦卡门墓的娱乐。这本书将跟踪这种影响的五个要素。关键的研究问题是，为什么英国的态度从将古埃及人遗体视为崇高或表达“ SIC Transit Gloria Mundi”情绪的地方转变为恐惧的态度。 1880年之后主导的是被诅咒的人工制品和复仇的阿拉伯人的故事。在五个地区进行了探讨。首先，我认为“埃及化的伦敦”是在伦敦建造的异国情调的空间。这始于皮卡迪利的埃及大厅，但扩展到了早期百货商店的开罗集市的娱乐。埃及景观的西洋镜在1820年代和1830年代很受欢迎，预计整个世纪的戏剧盛会中的场景。为水晶宫设计的埃及法院是围绕着寺庙的娱乐场所建造的。这种结构在世界博览会上很常见。泰晤士河河岸（1878）上竖立了“埃及艳后的针头”，带来了真实性，并且移动方尖碑标志着变化的帝国力量的工程任务。埃及的吸引力在伦敦的结构内创造了混合空间。第二，我通过谣言在伦敦博物馆附带的诅咒来探索对埃及的黑暗态度。这通常与卡那隆的死亡有关，在开放图坦卡门墓六个星期后。随后死亡的谣言是许多流行小说和历史的主题。我的研究遵循了两个先前的诅咒故事，其中包括道格拉斯·默里（Douglas Murray）于1889年向大英博物馆赠送的“不幸的木乃伊”，被认为是对那些看到它的人的不幸。没有人能够充分研究这个故事，但这是改变对埃及态度的关键指标。我还研究了沃尔特·英格拉姆（Walter Ingram）附带的诅咒故事。三分之二，我研究了这一时期的文学也从早期使用埃及作为浪漫的其他世界（Gautier and Flaubert）或反对现代堕落（Mary Loudon或Edgar Allen Poe）的杠杆。转折点是在埃及与哥特式有关的维多利亚时代晚期。复仇的木乃伊故事在本世纪末出人意料，经常专注于伦敦。这些故事出现在1880年代和1890年代，尽管与殖民地人工制品有关的诅咒的叙事结构是由拜伦勋爵（Lord Byron）袭击帕台农农（Parthenon）大理石掠夺的火车。第四，埃及是古董人和东方主义者一个深奥的智慧的地方。密封的传统表明，这种知识的承载者爱马仕·特里斯梅格斯（Hermes Trismegistus）是埃及神父。维多利亚时代的伦敦，“埃及魔术”的复兴很大。各种各样的神秘学家组成了寺庙，研究小组和魔术圈，以追求这一失落的智慧，我详细探讨了这一智慧。最终的背景将是维多利亚时代人类学学科的科学地位的迷信研究，以北非为重点是原始信仰的特定领域。通过检查1890年代出现的“邪恶之眼”的人类学，我的研究结束了，研究了这种迷信是如何表达殖民者与殖民地之间日益增长的怀疑的一种手段。伦敦，充满了“闹鬼”的人工制品和木乃伊的眼睛，展示了现代性的大都市如何通过超自然的故事和令人震惊的谣言来形容其殖民债务。