4,000-year-old manuscript introduction to the Book of the Dead resurfaces in Saqqara

The text was kept in one of the 59 sarcophagi discovered in September in the necropolis of the city of Memphis, south of Cairo.

By Le Figaro

Sarcophagi inside the burial site discovered in the Saqqara necropolis.
Sarcophagi inside the burial site discovered in the Saqqara necropolis. MOHAMED ABD EL GHANY / REUTERS

The necropolis of Saqqarah has just delivered a new treasure. In early October, nearly sixty sarcophagi in perfect condition were discovered on this Egyptian site, near the city of Memphis, where they had been buried over 2,500 years ago.

A big surprise awaited Egyptian archaeologists. One of the sarcophagi has revealed a mummy wrapped in funerary cloth adorned with brightly colored hieroglyphics, reports the site of the Daily Express . According to the English daily, the writings match the text The paths, or Paths, an introduction to one of the most important Egyptian funerary texts, known as the Book of the dead. This 4,000-year-old version might be the oldest copy ever to be found, offering an interesting glimpse into the spirit of the ancient civilization, obsessed with the afterlife.

Confront the afterlife

The ancient Egyptian believed in the resurrection. Book of the dead accompanies the deceased to secure their journey to the next world. It contains a wide range of magical spells written by many priests. The work also contains praises to the deities, songs and prayers. Personal belongings of the deceased, along with food, jewelry, and everything he loved in his life, were also buried with him to face the obstacles of his journey to the next world.

Listed as a UNESCO World Heritage Site, the Saqqarah site has unearthed archaeological treasures in recent years as well as many mummified animals (snakes, birds, beetles, etc.). Egypt hopes that all these finds and its new museum will revitalize tourism undermined by political instability and the attacks after the 2011 revolution that ousted Hosni Mubarak from power, and by the pandemic.


Leaving Neverland witness James Safechuck suffers legal setback

The 42-year-old had testified in the shocking documentary, accusing the star of having sexually abused him a hundred times as a child.

Affected by a dozen complaints of the same type in 2003, the singer was acquitted two years later, at the end of a high-profile trial.
Affected by a dozen complaints of the same type in 2003, the singer was acquitted two years later, at the end of a high-profile trial. Jason Mitchell / Headlinephoto / ABACAPRESS.COM

One of the alleged victims of Michael Jackson has just been dismissed by the American justice on one of the aspects of this case of pedocriminality. On trial against the companies MJJ Productions and MJJ Venture Inc., which he considered empowered to monitor the behavior of the planetary star during the 1990s, James Safechuck had testified in the documentary Leaving Neverland , recounting the sexual abuse he allegedly suffered during his childhood.

Dismissed in 2014, her complaint was accepted this summer, after the enactment of a law that extended the limitation period for pedophile acts in California. But the judge in charge of the case has just estimated that the employees of Michael Jackson’s companies did not have to supervise the actions of their own boss, one of the key arguments of the prosecution. “Young Jimmy Safechuck was employed by this company and was having fun with Michael Jackson. The idea that this company and its employees would not have a duty to protect him and ensure his safety is ridiculous», Reacted Vince Finaldi in TMZ , the plaintiff’s lawyer, announcing that the alleged victim was going to appeal.

In Leaving Neverland, James Safechuck claims to have been abused a hundred times by the interpreter of Thriller between 1988 and 1992, especially when he shot an advertisement for the Pepsi brand with him. He describes the star, who died in 2009, as a predator and a perverse manipulator. Affected by a dozen complaints of the same type in 2003, the singer was acquitted two years later, at the end of a high-profile trial.

»SEE ALSO – Michael Jackson: a degraded image decrypted by Léna Lutaud (video of June 25, 2019)


The castles of Versailles and Fontainebleau will accommodate 800 precious pieces of furniture

Pieces from the 17th and 18th centuries and important collections from the 19th century, housed in the collections of the Mobilier National, will be returned to their original palaces.

By Le Figaro with AFP

The Palace of Versailles will host ten carved oak torches from the former administration of Menus-Plaisirs, the initial model of which was designed under Louis XIV.
The Palace of Versailles will host ten carved oak torches from the former administration of Menus-Plaisirs, the initial model of which was designed under Louis XIV. STEPHANE DE SAKUTIN / AFP

Precious furniture, torches, sofas in which Napoleon, kings and princes sat: more than 800 pieces of furniture, objects and seats housed in the collections of the Mobilier national, will join the châteaux of Versailles and Fontainebleau where they come from, announced Wednesday this establishment.

At the Palace of Versailles and the two Trianons, pieces from the 17th and 18th centuries and important sets from the 19th century will be transferred. The majority of them were part of the interior decoration of these residences. The oldest are ten carved oak torches from the former administration of Menus-Plaisirs, the initial model of which was designed under Louis XIV.

For the nineteenth century, it will first be the furniture of the apartments of the staff of Versailles and the Trianons, composed almost exclusively of furniture from the Empire and the Restoration: a dozen folders from the Grand cabinet of the Emperor , a sofa and a loveseat in the Salon des Princes. Nearly 450 pieces of furniture and seats will be transferred to Versailles.

An equivalent transfer takes place between the Mobilier National and the Château de Fontainebleau. The furniture belongs to all the furnishing periods of the castle in the 19th century. Among the 400 pieces, appear those from Napoleon’s apartments. This is the case with mahogany chairs inlaid with ebony and pewter and a beautiful set of seats from Joséphine’s boudoir.

Heir to the Crown Furniture Repository and then to the Imperial Furniture, the National Furniture, which has its headquarters at the former Gobelins Manufactory in Paris, preserved these works, ensuring their preservation, maintenance and restoration.

SEE ALSO – The Palace of Versailles reopens its gates to the public after 82 days of closure


discover the first inclusive alphabet awarded by the Red Cross

You hesitate between a man of letters and a woman of letters? Should we write an author, an author, an author? Even the French Academy is no longer so categorical today. Or do you dodge the difficulty by falling back on a writer, as the Larousse ? No longer wrestle your brain: The inclusive will make your life easier. In any case, this is what this new typeface and its creator promise.

On October 15, during the 6th edition of the Art Humanity Prize in Geneva, Tristan Bartolini was awarded the Jury Prize for his creation, a typeface that marks both masculine and feminine or no longer differentiates between genders. It is depending on the point of view. This award, created in 2015 by the Geneva Red Cross and the University of Art and Design (HEAD), each year crowns projects that combine artistic impetus and humanitarian commitment.

Graduated from a Bachelor in Visual Communication, passionate about typography, Tristan Bartolini chose to work on the issue of epicene writing for his diploma. “In accordance with my commitments and convictions», He explains to The Geneva Tribune . Conditioned by language, typography does not manage to translate all the subtleties of the definition of gender and the possibilities existing between the feminine and the masculine. “Between the two, he believes, there are endless possibilities to identify with.»

The new signs are characterized by a graphic mix of the letters that make up the male and female endings. Screenshot Twitter / @SandrineRoudaut

Tristan Bartolini then imagines signs allowing us to mark “inclusiveness” and no longer differentiate between genders in our language. For this, he develops new signs that are characterized by a graphic mixture of letters that make up the male and female endings. By merging them it therefore creates a non-gendered character font. The agglomeration of an r and an e thus gives a new character capable of marking both the masculine and the feminine, in the foreign word for example. Another merges a and e so that the articles la, le, designate them indifferently as genres. More subtly still, an m and a p are merged to create the word “mpère”. Combined, all these characters create new words that it is impossible for us to write (and pronounce) with our Latin alphabet and its 26 letters. In the illustration above, we can for example discover “l[ae] [mp]fish[ne]»Which confuses godfather and godmother. Tristan Bartolini explains his approach as follows: “with the inclusive, we are allowed to define ourselves as a father, son, godfather, but above all as a woman».

«The idea fell from the sky, he explains. There was a lot of debate around epicene writing. It was becoming more and more frequent in administrative documents and advertisements. I told myself that it was not just a matter of linguists, that we could provide graphic solutions.“After several months of reflection, on rhetoric in particular, Tristan Bartolini began to work in March on a graphic form whose key word would be visibility. The characters should be easy to understand but also to use. “I made endless back and forth trips, pushing the experimentation to the most complex to often return to the simplest», He admits.

«I simply created a communication tool. Others could use it to send a message», Says Tristan Bartolini. Twitter / @catode_ screenshot

To achieve this result, he invents a total of forty new non-gendered letters which can be applied to pronouns, adjectives or even to names directly created by the use of this font. His work, he foresees, will be called upon to integrate other creations. “I simply created a communication tool. Others could use it to send a message», Explains the young man. Is Tristan Bartolini the Gutenberg of a new syntactic revolution?


Clint Eastwood summoned to trial for failed Thalys attack

The American director is called as a witness. His film 3:17 p.m. for Paris, in which the three American passengers who foiled the attack played their own role, will serve as a “reconstruction” for the Assize Court.

Clint Eastwood, director of 3:17 p.m. for Paris, a very special witness to the failed Thalys attack.
Clint Eastwood, director of 3:17 p.m. for Paris, a very special witness to the failed Thalys attack. VALERIE MACON / AFP

The failed Thalys attack to Paris will be judged before the assize race from November 16 to December 18. On August 21, 2015, Ayoub El-Khazzani came out of the toilets of wagon 12 armed with a Kalashnikov. Three American passengers on vacation manage to disarm it. Become heroes, Alek Skarlatos, Spencer Stone and Anthony Sadler were immortalized by Clint Eastwood in 2018 in 3:17 p.m. for Paris, a film inspired by the attack. The promo of the time praised a film “100% true», Where the three heroes, SNCF employees, other train passengers and the medical team played their own role.

Clint Eastwood at the helm

At the origin of these “reconstructions»For the cinema, Clint Eastwood is now part of the list of 41 witnesses and 9 experts summoned to the hearing. The American director is expected on Monday, November 23, in the afternoon, to review the attitude of Alek Skarlatos, Spencer Stone and Anthony Sadler during the scenes reproducing the attempted attack on the Thalys. The defense of the main accused Ayoub El-Khazzani, the lawyer Me Sarah Mauger-Poliak explained his request for summons to a witness to France Inter: “This quote seems all the more important, as the American soldiers, and it is regrettable, did not show up for the reenactment organized by the justice system when they spent months replaying the scene in front of the Hollywood projectors.».

It remains to be seen whether the director will respond favorably or not to his summons to the Assize Court. American citizen, Clint Eastwood cannot be the subject of a “warrant to bring», Which asks the police to bring him by force to the bar. 90-year-old Clint Eastwood will he move as the Covid-19 pandemic starts again? He could be heard by videoconference.


On the death of Enzo Mari – “Design is dead” – culture

The box comes with the truck. She is pounded at the feet of the newly married couple with the sentence: “Here is her house.” The rest is slapstick. The silent film (1920) with Buster Keaton in the lead role of a craftsman who is not fit for a craftsman tells of the failure of the do-it-yourself principle. First it rains through the roof, then the house cannot withstand the wind and becomes a carousel – finally the couple flees. Leaving behind a pile of boards that looks like it’s gotten into the chopper. Including a declaration of surrender: “for sale”.

If you want to transform Enzo Mari’s thinking and work into a picture, then it is this: The Italian designer, object artist, lecturer, theorist and almost communist, who died this Monday at the age of 88, has this surrender, unlike many of his Companions never accepted. Most importantly, he never sold himself.

What doesn’t last at least a hundred years is no good

His legendary project “Autoprogettazione” (freely translated: do it yourself) from 1974 is therefore also a direct response to Buster Keaton and the eternal failure of the world of things. Mari wanted to reinterpret this failure as an act of self-empowerment. But that’s why he soon came to the conclusion: “I work for the factory, not for the boutique.” For the factory, but above all for the people. His project: In return for the postage reimbursement, you could receive instructions from him for making simple furniture yourself.

This is furniture that can only be made from raw wooden boards with the help of a hammer and nails. In this way, the designer wanted to raise awareness of things. Once he said in a similar way: What does not last at least a hundred years is no good. And what you cannot do yourself in case of doubt is nothing. This way of thinking, thing-friendly, people-friendly, surreal, does not fit into a time when more and more goods are being manufactured faster and faster, which are becoming more and more fashionable, to be faster and faster – to be replaced more and more quickly. It’s like the Buster Keaton carousel: a trap.

When the concept of sustainability was still attributed to forest science, Enzo Mari was already lecturing on it. He was a sharp critic of a design that made a monkey. So he said, “Design is dead.” For him, good design was something like this: sustainable, durable, unpretentious, usable, affordable. And yes, not least beautiful. Because in the end, but that is now a sentence by Hans Kollhoff, the things we love are also the things we keep.

His furor was directed against a world of appearances that would be obliged to be

Born in Piedmont in 1932, Mari studied literature and art in Milan in the 1950s before turning to industrial design. Inspired by the Arts and Crafts movement, Mari founded his studio in Milan, still a world hotspot for design in addition to the Corona hotspot. Alongside Sottsass, Mendini, Castiglioni and De Lucchi, Enzo Mari is one of the most influential Italian designers.

The fury of the great grumbler was directed against a world of appearances that was nevertheless committed to being; and against a longing for beauty that exhausts itself in confusing the beautiful with the new. Which did not prevent him from inventing particularly beautiful things. What you can count on the stackable canvas chair “Delfina”. And the inclined litter bin “In Attesa”. That can be translated as “in expectation”. There is no wastepaper basket in which one would rather throw useless things with the casualness of Michael Jordan. The estate of Enzo Mari is not one of them. In 2016 he announced that he would bequeath his work to the city of Milan – on the condition that it would not be shown for 40 years. The design world is not yet mature enough for this. We are waiting. Enzo Mari is not only left with his work, but also with his idea of ​​a better life.


“I no longer hide behind a clown”

INTERVIEW – With Goodbye idiots which comes out on October 21, the director ofGoodbye up there delivers a wacky comedy about a trio of characters led by Virginie Efira.

In March 2018
In March 2018 JACK GUEZ / AFP

Meeting in the Parisian offices of Albert Dupontel, in the shadow of Edmond Rostand Cyrano and Pagnol who lived nearby.

LE FIGARO. Once again, are you putting on crazy characters?

Albert DUPONTEL: The themes are always redundant with me, parents chasing children or children chasing parents. I consider myself to be a more than limited author, I always do the same and the worst thing is that I give myself trouble! In Goodbye idiots, I wondered how a woman acted, Suze Trappet (played by Virginie Efira) who wants to live but can no longer, meets someone, JB, myself, who can live but who no longer wants. There are necessarily two opposing views. I looked for suffering social archetypes, there are plenty of them. Suze Trappet is a hairdresser and gets sick from the products she uses. She says : “I’m dying from an excess of perms”. Then I build a story so that the three protagonists

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“Classic moments” N ° 25: Thus, the night

SUBSCRIBER EXCLUSIVE LETTER – Records, opera, concerts, books. All the news of the classic, by Thierry Hillériteau.

Thierry Hillériteau
Thierry Hillériteau Le Figaro

Dear subscribers,

Welcome to this twenty-fifth edition d’«Classic moments», Your letter exclusively dedicated to classical music and opera. Because I am convinced that at the moment we need music more than ever, I suggest you every week a maximum of musical choices to discover, rediscover, or share. Of our latest discographic favorites to the shows to review from home, and which had ignited our reviews at the time of their creation. Going through the books whose music of words seduced us.

In this sixth letter of the season, and after the announcements of the curfew which expects 20 million French people from tomorrow evening, we will see how the rooms are organized to stay open, and will celebrate the night differently. At the disc, first, where we will cross the darkness guided by Mozartian light of a Helene Grimaud most inspired. Contemplate the lunar star in the company of Goldoni and the baroque composer

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“There is nonsense in this refusal to listen to us and to negotiate”

Already undermined for several months by the health crisis, the performing arts sector is one of the first victims of the government curfew. Despite the arrangements desired by professionals in the field, Prime Minister Jean Castex cut short all possibilities of exemption for spectators, declaring that the measure had to be respected by everyone, including culture.

We, the actors of the performing arts, are doing what we can to support the very restrictive demands of the government, and I have the feeling that there is no sign of return

Alexis Michalik

«It’s a blow to the entire entertainment industry and to the cinema“, Alarms the actor and director Alexis Michalik, of which five plays are performed simultaneously in the capital. “There is nonsense in this refusal to listen to us and to negotiate. This refusal to understand that we, the actors of the spectacle, alive are doing what we can to comfort ourselves to the very restrictive demands of the government, and I have the feeling that there is no sign in return», He regrets, when Castex confirms the curfew for the world of culture.

“People are still at work, they will probably have a hard time coming at 6.30 pm”

Alexis Michalik

The day after the announcement, live performance professionals adapted to the imposed schedule, moving most performances to 7 p.m. “Earlier than that it is very difficult, people are still at work, they will probably have a hard time coming at 6.30 p.m.», Explains the director. In addition to this precarious mode of operation, the curfew prevents theaters from providing two performances per evening.

Since the recovery, theaters have struggled to regain their pre-crisis dynamic. “Social distancing has brought the whole profession to the ground“And”it doesn’t really make sense“, Deplores the Molière of the 2020 staging.”A private show makes its receipts on the weekends during which it can fill its room. This helps to offset lower revenueThe rest of the week, he explains. A mode of operation weakened by the limited number of authorized spectators, “in the best case, we can fill 60 to 70% of the gauge“, And”the current atmosphereWhich does not encourage people to come to the theater.

“Since the reopening there is no cluster in the theaters”

Alexis Michalik

Despite the financial aid put in place by the State to prevent the sinking of the sector, the psychological blow remains for the entire profession. Between postponed performances and the absence of new creations – impossible to amortize due to a lack of date – the public has less and less choice. “The show must manage to continue to live, people must come back to theaters. Since the reopening there is no cluster in theaters. The spectators who go there keep their masks and it’s going very well», Alerted Alexis Michalik.


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