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dc.contributor.authorTully, C
dc.contributor.editorFerguson, C
dc.contributor.editorRadford, A
dc.date.accessioned2020-12-04T00:38:21Z
dc.date.available2020-12-04T00:38:21Z
dc.date.issued2017
dc.identifier.citationTully, C. (2017). Egyptosophy in the British Museum: Florence Farr, the Egyptian Adept and the Ka.. Ferguson, C (Ed.). Radford, A (Ed.). In The Occult Imagination in Britain, 1875 - 1947, (1), pp.131-145. Routledge - Taylor & Francis.
dc.identifier.isbn1351168304
dc.identifier.isbn9781472486981
dc.identifier.urihttp://hdl.handle.net/11343/252781
dc.description.abstract"Egyptosophy" refers to "the study of an imaginary Egypt viewed as the profound source of all esoteric lore" and reflects the idea – prevalent since antiquity – that the ancient Egyptians were a race of mysterious sages. The academic discipline of Egyptology split from Egyptosophy in 1822 with Jean-Francois Champollion's decipherment of the Egyptian hieroglyphs. By identifying Mutemmenu as an "Egyptian Adept" equivalent to a Golden Dawn initiate of high degree, Florence Farr foregrounded the role of the priestess in modern Hermetic magic. Where Farr's encounter with Mutemmenu does echo the wider corpus of mummy fiction is in its occurrence in the British Museum, as museums are often the setting for mummy reanimation. Warwick Gould suggests that Farr may have either associated the last syllable of Nenkheftka's name with the idea of the ka, or else thought she had been the wife of Nenkheftka in a previous incarnation.
dc.publisherRoutledge - Taylor & Francis
dc.titleEgyptosophy in the British Museum: Florence Farr, the Egyptian Adept and the Ka.
dc.typeChapter
dc.identifier.doi10.4324/9781351168328
melbourne.affiliation.departmentSchool of Historical and Philosophical Studies
melbourne.source.titleIn The Occult Imagination in Britain, 1875 - 1947
melbourne.source.pages131-145
melbourne.elementsid1291710
pubs.edition1
melbourne.contributor.authorTully, Caroline
melbourne.accessrightsOpen Access


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