Introduccion a La Etimologia Universal

Total Page:16

File Type:pdf, Size:1020Kb

Introduccion a La Etimologia Universal EL ORIGEN LEXICO . ETIMOLOGÍA. RECONSTRUCCIÓN DE LA PALABRA LA SEMILLA DE BABEL. PARTE II Mario Carreño Vivara Año 2013 EL ORDEN DE LA ETIMOLOGÍA FONACIÓN La etimología es la reconstrucción de la historia de una palabra. La esencia de la palabra original sobrevive a los cambios hechos por el hombre. El ser humano comenzó articulando varios sonidos silábicos utilizando su laringe, lengua, labios, nariz y boca. Esta producción de sonidos se hizo más extensa cuando unió estos primeros vocablos en doble-silaba, triple-silaba y más, creando así palabras compuestas que contenían significados diferentes. El ser humano tuvo que aprender a utilizar su voz adecuadamente para expresar exactamente el mismo sonido que el otro humano hacía. Cuando el lenguaje se esparcio, cada persona extraña al vocablo expresado, utilizaba una entonación y ritmo diferente al de la persona autóctona. Grupos emigrantes con lenguaje desarrollado enriquecieron el poco evolucionado de otros y viceversa. EL INICIO: LA ESCRITURA CUNEIFORME La historia escrita se remonta hasta los tiempos Sumerios (2500 a.c.) cuando los escribas utilizaban un punzón para grabar simbolos fonéticos sobre tablas de arcilla blanda, esta escritura tenía forma de cuña y se encontraba al lado, arriba o debajo de figuras. Poco después (2350 a.c.) los Acadios desarrollaron una gran extensión de vocablos a partir de la escritura Sumeria originando así las primeras inserciones al vocabulario origen. En los tiempos de Sargón de Akkad hubo una dispersión de las diferentes etnias hacia los cuatro vientos de la tierra y así la palabra fonéticamente escrita se convirtió en lenguas como la: Egipcia, Sanscrita, Arabe, Hebrea, China, Persa, Aramea, Griega, Latina, Nahuatl, Tarasca, Maya, Algonquina y muchas otras. COMPOSICION DE LA ETIMOLOGÍA La etimología es de Origen, Primaria y Secundaria: Etimología de Origen es la palabra raíz, el embrión, la semilla. Es el punto de partida para una o varias derivaciones. Los vocablos emanan de esta raíz. Idea fundamental está señalada con el signo = y se refiere a la idea madre. Significado: Expresa las ideas o modalidades de la palabra irradiadas al través del tiempo. Etimología Primaria es el primer vocablo que desciende de la palabra origen. Lenguas Hermanas son la familia de la palabra origen que tienen la misma identidad. Etimología Secundaria son las palabras modo o trasladadas que mantienen la equivalente raíz. Relación con otros vocablos es la asociación de la palabra con todas aquellas equivalentes en la idea principal. Ejemplo: Estrella: Etimología de Origen: Acadio <Ishtar> = Venus. Significado: Diosa acadia del amor asociada al planeta Venus. Con el paso del tiempo la palabra se asoció a toda luz observada en el firmamento. Etimología Primaria: Babilonio <Ashtoreth> Lenguas hermanas: Fenicio <Astarté> Hebreo bíblico <Esther> Ingles antiguo de origen Alemán <Steorra> Etimología secundaria: Latín <Stella> Alemán <Stern> Ingles <Star> Relacionada con (Ver): Astro, Asterisco, Astronauta, Desastre, Destellar. INFORMACIÓN DE INICIO, ACLARACIÓN Y ADVERTENCIA Este libro intenta resolver dudas y entender ciertas raíces léxicas incorporadas al español de los diferentes idiomas que le dieron origen. Se está introduciendo palabras autóctonas de las diferentes poblaciones mexicanas, americanas y en su caso sudamericanas. El termino etimología universal representa el objetivo de introducir el máximo de modalidades lingüísticas basadas en la raíz misma. Este libro muestra solo una reconstrucción de la palabra universal y no es total ni excluyente de otras fuentes alternativas que el lector pudiese consultar. Como sabemos el español tiene raíces latinas, griegas, fenicias, hebreas, árabes, inglesas y algunas otras menos influyentes, por lo que se debe analizar exactamente donde se encuentra la raíz original de la palabra indagada. Las lenguas Indígenas Mexicanas: Maya moderno, Tarasco de 1714, Zapoteca del año 1700 y el idioma Náhuatl del año 1571 proveen al lenguaje universal varias palabras que verán incluidas en este volumen. No abordare vulgarismos a excepción de aquellos que sean indispensables al surgimiento de una determinada palabra. Los estudiosos tal vez encuentren algunas inconsistencias y observen palabras sin Etimología Origen, Primaria o Secundaria (aunque espero sean las menos) o tal vez discrepen con la interpretación aquí presentada por lo cual les pido disculpas por anticipado. Aclaración: Encontrara palabras que no tienen etimología de origen o primaria o que solo tienen la etimología secundaria, algunas otras no tendrán significado o este es muy corto. PREFACIO En algún tiempo de la historia del hombre ya sea como lo presentan los evolucionistas o como lo expresa Moisés en génesis 11:1-6 de la biblia, existió un idioma Universal. Con el paso de las edades históricas este lenguaje universal se fue diversificando, haciéndose cada vez más distante, extendiéndose en una multitud de palabras mixtas y compuestas entre los diversos grupos étnicos. Así como el hombre antiguo lo hizo, ahora el moderno continúa adecuando y desarrollando nuevas palabras a partir de las ya existentes. Este compendio trata de explicar el origen real de las palabras y no es total ni excluyente de otras ideas o estudios de las autoridades en la lengua. Tomando como fuentes principales a los diferentes diccionarios lingüísticos existentes hoy en día y en palabras traducidas de las tabletas y manuscritos antiguos como son las Sumerias, Acadias, Coptas, Hebreas, Náhuatl, Mayas, Griegas, Latinas. Se incluyen sonidos onomatopéyicos que se han convertido en definidores de identidad, cualidad y habilidad de animales, objetos y personas. Al Primer libro se le considerara como Introducción a la Etimología Universal que incluye la raíz de algunos nombres, nombres propios y sustantivos. Al Segundo libro se le considerara como Pequeño Libro Etimológico Universal el cual incluirá más variedad de palabras. Al Tercer libro se le considerara como Libro de Etimología Universal y finalizara la lista de libros. GRAMATICA GENERAL E INTRODUCCIÓN A LA RECONSTRUCCIÓN DE LA PALABRA ADICIONES GRAMATICALES Con el paso de las edades historicas la palabra origen absorbe nuevas adiciones que provocan el cambio de la raiz. Estos agregados gramaticales le otorgan un significado extendido ya sea en la lengua propia o al idioma que la adopta. Asi tenemos diferentes agregados como son: sufijos, prefijos, determinativos, privativos, acentuaciones y demás acompañantes léxicos. Ejemplo: En Sumerio el lexema origen <Da> = Extremidad. Tiene un cambio al repetirse el vocablo <Da+ da><Dada> = Amado, Puro, Limpio. Despues se transformo al Semitico <Adad> = Amado. Llegando al hebreo como <Da+viy+d> = Bien Amado. En español moderno es ahora el nombre propio <David>. Otro ejemplo: El vocablo náhuatl <Ton> = Sol. Es igualmente uviversal y ya se le conocía antiguamente en otras lenguas como en: Egipcio <A+ton> Asirio<A+tounou> Arameo <A+ttoun> Zapoteco <Toono> y mas recientemenete en Ingles <Tan> Bronceado. DESMERECEDORES O DISMINUIDORES DE LA PALABRA Por otro lado existen disminuidores de la palabra los cuales erosionan y carcomen total o parte de esta: Apocopes, diminutivos, contracciones y otras formas análogas. Ejemplos: En Mexico a las personas con nombres propios como <Francisco> se les termina llamando Pancho o Paco, A las personas con nombre propio <Jesus> se les llama Chucho a las personas con nombre<Concepcion> se le llama Concha y asi como estos, existen otros ejemplos análogos. CONTRACCIONES DE LA PALABRA En Estados Unidos es igualmente contraído o cambiado el vocablo como en los siguientes ejemplos: <Good bye> se transforma en el <Bye> o <Thank you soul much> termina diciéndose <Thank you so much> por no citar algunos más en otras lenguas. Es por eso la importancia de la reconstrucción de la palabra original, aunque sin abordar estos apocopes, diminutivos y contracciones. PALABRAS ABIERTAS Y CERRADAS La pronunciación de los vocablos puede derivar en palabras cerradas o abiertas de acuerdo a la transliteración o adaptación fonética del idioma. Una palabra cerrada es la que termina en consonante; Ejemplo de los verbos en español: Barrer, Comprar, Terminar, Hablar, Correr. Una palabra abierta es la que acepta el agregado de una vocal para terminar y conjugarse Ejemplo: Comprada, Terminado, Hablando, Correre. El estado abierto o cerrado de la palabra cambia cuando es adoptada por otra lengua Ejemplo: En Español el sustantivo abierto <Estaca> se convierte en sustantivo cerrado en Aleman <Stachel>. Sin embargo el lexema origen se mantiene sin mucho cambio <Stak> = Espina, palo puntiagudo, púa de madera. ROMANIZACIÓN Debido a la diferente escritura desarrollada por los autóctonos de alguna región no se incluye la escritura de origen sino más bien una adaptación fonética (Romanización) de la pronunciación léxica original caso del hebreo, griego, árabe, ruso, persa, chino y otros. ABREVIATURAS Este libro de palabras no contiene abreviaciones gramaticales, jerga lingüística, vulgarismos, abreviaturas o diminutivos. Parte directamente de la palabra Hispanoamericana e inicia de la palabra Origen encontrada hacia la más moderna o Secundaria. Se toma el lexema de la palabra (la raíz original) y cuando la palabra es mixta o compuesta incluirá todo el lexema correspondiente sin el privativo ni el morfema. MORFOLOGÍA Por otro lado el morfema del verbo no se traduce ya que es el acompañante léxico y determina la gramática de los idiomas: Ejemplo verbo Administrar: Latín<Administrare> Del sanscrito <Adhi> + Hebreo <Mene
Recommended publications
  • Sumerian Liturgical Texts
    UNIVERSITY OF PENNSYLVANIA THE UNIVERSITY MUSEUM PUBLICATIONS OF THE BABYLONIAN SECTION VOL. X No. 2 SUMERIAN LITURGICAL TEXTS BY g600@T STEPHEN LANGDON ,.!, ' PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM 1917 DIVINITY LIBRARY gJ-37 . f's- ". /o, ,7'Y,.'j' CONTENTS INTRODUC1'ION ................................... SUMERIAN LITURGICAL TEXTS: EPICALPOEM ON THE ORIGINOF SLIMERIANCIVILI- ZATION ...................................... LAMENTATIONTO ARURU......................... PENITENTIALPSALM TO GOD AMURRU............. LAMENTATIONON THE INVASION BY GUTIUM....... LEGENDOF GILGAMISH........................... LITURGICALHYMN TO UR-ENGUR............. .. .. LITURGICALHYMN TO DUNGI...................... LITURGICALHYMN TO LIBIT-ISHTAR(?)OR ISHME- DAGAN(?)................................... LITURGICALHYMN TO ISHME-DAGAN............... LAMENTATIONON THE DESTRUCTIONOF UR ........ HYMNOF SAMSUILUNA........................... LITURGYTO ENLIL.babbar-ri babbar.ri.gim. INCLUD- ING A TRANSLATIONOF SBH 39 .............. FRAGMENTFROM THE TITULARLITANY OF A LITURGY LITURGICALHYMN TO ISHME.DAGAN............... LITURGYTO INNINI ............................... INTRODUCTION Under the title SUMERIANLITURGICAL TEXTS the author has collected the material of the Nippur collection which belonged to the various public song services of the Sumerian and Babylonian temples. In this category he has included the epical and theological poems called lag-sal. These long epical compositions are the work of a group of scholars at Nippur who ambitiously planned to write a series
    [Show full text]
  • Saturday, December 26, 2015 an "Uyghur" OG- UR - Empire
    Saturday, December 26, 2015 An "Uyghur" OG- UR - empire. Perhaps we need to know what an OG and an UR are? Og = male of draco line Ur = of the ancient dragon blood (hi blood- seraphim, fallen/decayed non-imploding DNA- draco/ nephalim) RA = of the sun god bloodline - usually sons of enki - particularly marduk. ( aka -sa ra / assa wife of ra, and ab ra.. from ra- abraham..) Bharat (original name of India)= B (container of) ARR (those from the ARR artificial planetoid{niburu}) RA-t. "The ancient Indian engraved texts on gold plates and hid them to honor the gods and address the succeeding generations." ref - The point is that the seraphim draco recorded a critical sequence of magnetic domains/ donuts (tilt or phase angles) into gold foil - to record magnetic field symmetry sequences- the real physics of alphabet origins and dna programming. (See Mormon genetic records - and TORUS DISC below - and the origin of the word ME - which means in Sumerian (dragon tongue) - the word COMPUTER DISK (according to Sitchen) - over which wars are fought - and from which we get the name MEasurement (ME-ASSA-URU-ME-AN-t). Saturday, December 26, 2015 “I will raise a SHEM (altar) unto the Lord” sCHEMe Shem = “altar in church” Sitchen Translated Shem= “high-ward FIRE stone” = SHEM-An (Shaman) One can call the Shem SHEM= Access to a Black Hole Origin CHEM in CHEMistry and Al-CHEMy Literally an Implosive, Bioactive, Centripetal - Implosive (and FRACTAL) Electric Field Ch-UR-ch Saturday, December 26, 2015 “Letters to the Children of Ma-UR” Gold (Au) • Ary-AN is
    [Show full text]
  • Povestiri Din Orient (Tâlcuite În Versuri Pentru Cei Mici) Volumul I: Mul-An, Muzica Stelelor Cerului Şi Monologul Scepticului
    DOBRE I. VALENTIN-CLAUDIU – POVESTIRI DIN ORIENT (TÂLCUITE ÎN VERSURI PENTRU CEI MICI) VOLUMUL I: MUL-AN, MUZICA STELELOR CERULUI ŞI MONOLOGUL SCEPTICULUI Valentin-Claudiu I. DOBRE POVESTIRI DIN ORIENT (TÂLCUITE ÎN VERSURI PENTRU CEI MICI) VOLUMUL I: MUL-AN, MUZICA STELELOR CERULUI ŞI MONOLOGUL SCEPTICULUI 0 - 962 1 3 - 0 COLECŢIA ZIDUL DE HÂRTIE - 973 Ediţie electronică pdf CD-ROM 2020 - BUCUREŞTI 2020 ISBN ISBN 978 ISBN 978-973-0-31962-0 1 Page DOBRE I. VALENTIN-CLAUDIU – POVESTIRI DIN ORIENT (TÂLCUITE ÎN VERSURI PENTRU CEI MICI) VOLUMUL I: MUL-AN, MUZICA STELELOR CERULUI ŞI MONOLOGUL SCEPTICULUI Valentin-Claudiu I. DOBRE POVESTIRI DIN ORIENT (TÂLCUITE ÎN VERSURI PENTRU CEI MICI). VOLUMUL I: MUL-AN, MUZICA STELELOR CERULUI ŞI MONOLOGUL SCEPTICULUI Ediţie electronică pdf CD-ROM 2020 0 Dedicată Celor Dragi, Soţiei mele iubite - 962 1 3 - COLECŢIA ZIDUL DE HÂRTIE 0 - 973 - Ediţie electronică pdf CD-ROM 2020 Bucureşti 2020 ISBN 978 ISBN 978-973-0-31962-0 2 Page DOBRE I. VALENTIN-CLAUDIU – POVESTIRI DIN ORIENT (TÂLCUITE ÎN VERSURI PENTRU CEI MICI) VOLUMUL I: MUL-AN, MUZICA STELELOR CERULUI ŞI MONOLOGUL SCEPTICULUI Drepturile asupra acestei ediţii aparţin autorului. Orice reproducere fără indicarea sursei strict prohibită. Lucrările grafice redate nu au restricții de reproducere. SURSELE TEXTELOR ORIGINALE: - ETCSL Project, Faculty of Oriental Studies, University of Oxford; Adresă site: http: //etcsl.orinst.ox.ac.uk/edition2/etcslbynumb.php - Cuneiform Digital Library Initiative (CDLB- Bulletin şi CDLJ- Journal); Adresă site: http: //cdli.ucla.edu - ETCSRI Corpus; Adresă site: http: //oracc.museum.upenn.edu/etcsri/corpus - Colecţia Montserrat Museum, Barcelona, Spain, studii Molina Manuel; Adresă site: http: //bdtns.filol.csic.es - Cuneiform Monographs Vol.
    [Show full text]
  • Dictionary of Gods and Goddesses.Pdf
    denisbul denisbul dictionary of GODS AND GODDESSES second edition denisbulmichael jordan For Beatrice Elizabeth Jordan Dictionary of Gods and Goddesses, Second Edition Copyright © 2004, 1993 by Michael Jordan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data denisbulJordan, Michael, 1941– Dictionary of gods and godesses / Michael Jordan.– 2nd ed. p. cm. Rev. ed. of: Encyclopedia of gods. c1993. Includes bibliographical references and index. ISBN 0-8160-5923-3 1. Gods–Dictionaries. 2. Goddesses–Dictionaries. I. Jordan, Michael, 1941– Encyclopedia of gods. II. Title. BL473.J67 2004 202'.11'03–dc22 2004013028 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by David Strelecky Cover design by Cathy Rincon Printed in the United States of America VBFOF10987654321 This book is printed on acid-free paper. CONTENTS 6 PREFACE TO THE SECOND EDITION v INTRODUCTION TO THE FIRST EDITION vii CHRONOLOGY OF THE PRINCIPAL RELIGIONS AND CULTURES COVERED IN THIS BOOK xiii DICTIONARY OF GODS AND GODDESSES denisbul1 BIBLIOGRAPHY 361 INDEX 367 denisbul PREFACE TO THE SECOND EDITION 6 It is explained in the introduction to this volume and the Maori.
    [Show full text]
  • Projeto Dicionário Das Deusas Mesopotâmicas: Da Mitologia Do Antigo Oriente Médio À Formulação De Material Para Educação
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL BACHARELADO EM HISTÓRIA DA ARTE CAROLINE SCHMIDT PATRICIO Projeto Dicionário das Deusas Mesopotâmicas: da Mitologia do Antigo Oriente Médio à formulação de material para educação PORTO ALEGRE 2021 1 CAROLINE SCHMIDT PATRICIO Projeto Dicionário das Deusas Mesopotâmicas: da Mitologia do Antigo Oriente Médio à formulação de material para educação Trabalho de Conclusão de Curso de Graduação apresentado ao Instituto de Artes da Universidade Federal do Rio Grande do Sul, como requisito parcial para a obtenção do título de Bacharela em História da Arte. Orientadora: Profª. Drª. Katia Maria Paim Pozzer. PORTO ALEGRE 2021 CIP - Catalogação na Publicação Schmidt Patricio, Caroline PROJETO DICIONÁRIO DAS DEUSAS MESOPOTÂMICAS: DA MITOLOGIA DO ANTIGO ORIENTE À FORMULAÇÃO DE MATERIAL PARA EDUCAÇÃO / Caroline Schmidt Patricio. -- 2021. 135 f. Orientador: Katia Maria Paim Pozzer. Trabalho de conclusão de curso (Graduação) -- Universidade Federal do Rio Grande do Sul, Instituto de Artes, Curso de História da Arte, Porto Alegre, BR-RS, 2021. 1. Mespotâmia . 2. Antigo Oriente Próximo. 3. Gênero na Antiguidade. I. Paim Pozzer, Katia Maria, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a). 2 CAROLINE SCHMIDT PATRICIO PROJETO DICIONÁRIO DAS DEUSAS MESOPOTÂMICAS: DA MITOLOGIA DO ANTIGO ORIENTE MÉDIO À FORMULAÇÃO DE MATERIAL PARA EDUCAÇÃO Trabalho de Conclusão de Curso apresentado ao Instituto de Artes da Universidade Federal do Rio Grande do Sul como exigência parcial para o título de Bacharela em História da Arte. DATA: _____________ APROVADA ( ) REPROVADA ( ) BANCA EXAMINADORA: Profª. Drª. Daniela Pinheiro Machado Kern Profª.
    [Show full text]
  • Begone Dingir
    Common sumerian words for magickal purposes Akhkharu = Vampire Alal = Destroyer Alla Xul = Evil God Barra! = Begone Dingir Xul = Evil God Edin Na Zu = Go to the desert! (a form of exorcism) Gelal = Incubus Gigim Xul = Evil Spirit Gidim Xul = Evil Ghost Idimmu = Demon Idpa = Fever Kashshaptu = Witch Lalartu = Phantom Lalassu = Spectre Lilit = Succubus Maskim Xul = Evil Fiend (Ambusher, Lier-In-Wait) Mulla Xul = Evil Devil Rabishu = Sam As Maskim Xul Telal = Wicked Demon (Warrior) Uggae = God Of Death Uruku = Larvae Utuk Xul = Evil Spirit Names of People|Gods|Places / Words for People|Gods|Places ADAR = Star of NINASU AMAUSHUMGALANNA = Lord of Bread of Life ('date clusters') ANSHAR = Foremost of the Heavens ANSHARGAL = Great Prince of Heaven ANU = the Heavenly One BADTIBIRA = Land (bright land) Where the Ores are Made Final BUZUR = God of the Deep Mines (God Who Solves Secrets) DAMKIANNA = Mistress of Earth and Heaven DUMUZI = Son Who is Life EA = He Whose House is Water EANNA = House of Anu EBABBAR = House of the Rising Sun EDIN (valley of Edin) = Land of Mas EENGURRA = House of the Lord Whose Return is Triumphant EGISNUGAL or GISNU = House Causing Light EHURSAGKALAMMA = Mountainhead for all the Lands EKUR or KUR or KURGAL = House Mountain (great mountain) EKUR = House Which is Like a Mountain EMEURANNA = House of the ME's of ANU's Hero ENKI = Lord of Earth ENLIL = Lord of Airspace EZINU = Goddess of the Grain GIBIL = One of Fire GULA or BAU = Lady Who the Dead Brings Back to Life HEBAT = Lady of the Skies HURSAGMU = Mountain of the Sky-Chambers
    [Show full text]
  • Abhiyoga Jain Gods
    A babylonian goddess of the moon A-a mesopotamian sun goddess A’as hittite god of wisdom Aabit egyptian goddess of song Aakuluujjusi inuit creator goddess Aasith egyptian goddess of the hunt Aataentsic iriquois goddess Aatxe basque bull god Ab Kin Xoc mayan god of war Aba Khatun Baikal siberian goddess of the sea Abaangui guarani god Abaasy yakut underworld gods Abandinus romano-celtic god Abarta irish god Abeguwo melansian rain goddess Abellio gallic tree god Abeona roman goddess of passage Abere melanisian goddess of evil Abgal arabian god Abhijit hindu goddess of fortune Abhijnaraja tibetan physician god Abhimukhi buddhist goddess Abhiyoga jain gods Abonba romano-celtic forest goddess Abonsam west african malicious god Abora polynesian supreme god Abowie west african god Abu sumerian vegetation god Abuk dinkan goddess of women and gardens Abundantia roman fertility goddess Anzu mesopotamian god of deep water Ac Yanto mayan god of white men Acacila peruvian weather god Acala buddhist goddess Acan mayan god of wine Acat mayan god of tattoo artists Acaviser etruscan goddess Acca Larentia roman mother goddess Acchupta jain goddess of learning Accasbel irish god of wine Acco greek goddess of evil Achiyalatopa zuni monster god Acolmitztli aztec god of the underworld Acolnahuacatl aztec god of the underworld Adad mesopotamian weather god Adamas gnostic christian creator god Adekagagwaa iroquois god Adeona roman goddess of passage Adhimukticarya buddhist goddess Adhimuktivasita buddhist goddess Adibuddha buddhist god Adidharma buddhist goddess
    [Show full text]
  • PREFACE to Vol. 2: Ádam Genisiš Have You Ever Dreamed of Being An
    PREFACE to Vol. 2: Ádam Genisiš Have you ever dreamed of being an awareness embedded in another person while that person pursues his or her own experience? This can be quite terrifying. One experiences, intimately, everything the dreamed person does, while knowing one is not that person, and while being unable to influence the situation. This may be the way in which Anton Parks experienced “Sa'am,” the central personage of the Chronicles series, whose more familiar identities are revealed in the present volume. At least his description of the experience resembles it. But Parks was not dreaming or sleeping. His transferences from life as Anton Parks to this silent rider in the life of Sa'am would take place unexpectedly and obtrusively in the full waking state. These episodes began in 1981, when Parks was 14 years old, with a series of “flashes” that would occur spontaneously at any hour of the day. They eventually evolved into “visions” that occurred from once to three times each day. The visions were unwanted, and interfered with the normal life of the growing young man. Eventually, after some ten years, Parks succeeded in choking them off. But before they ended, Parks found that he had experienced, intimately through his association with Sa'am, a panorama of history that seemed connected with our Earth, spanning some 300,000 years, through times of unknown human civilizations, and terminating at the dawn of the Christian era.1 The question for Parks, and for us now, has been how to treat this information. How would he, and we, ever know if this is valid historical data or a rich fantasy suitable for a genre of science fiction? Of course if we had prior understanding of the mechanisms that underlay the experience, we might be able to pre-assess any information that comes via that process.
    [Show full text]
  • THE CULT of DEAD KIN in ASSYRIA and BABYLONIA II9 Or One Who Has No Son Or Daughter, Or One Who Has No Heir to Make Libations of Water"
    "15 THE CULT OF DEAD KIN IN ASSYRIA AND BABYLONTA By MIRANDA BAYLISS Introduction Assyriologists have long been aware of the evidence for a cult of the dead in Assyria and Babylonia, but there is at present, to the writer's knowledge, no syste- matic study of the subject.' She has therefore examined the evidence relating to the cult of the dead, and attempted to compare the attitude towards dead kin shown in the cult with what we know of relations between living kin and of concepts of descent.2 In this study, comparisons are occasionally made with other societies not culturally connected with Mesopotamia. The writer's interest here lies in the application of social anthropology to the study of Mesopotamian society. Traditionally anthro- pologists have studied the type of society formerly called " primitive ", now more often called " small-scale " or " pre-industrial ". Ancient Mesopotamia was not a society of this type, but a peasant society, with a comparatively elaborate technology and a wide field of social relations, at least among the power-holding groups. Social anthropologists have only recently begun to study peasant societies.3 It will be appreciated that the writer has no formal training in social anthropology, and that this attempt is, therefore, highly tentative. The factors determining the existence and importance of a cult of dead kin in a society have not been clearly revealed by comparative study. Scheinfeld has indeed shown that all societies that have such a cult have also the institution of inheritance of property,4 but the evidence examined by him does not permit the conclusion that inheritance is a precondition for the existence of a cult of deceased kin.
    [Show full text]
  • Gods, Demons and Symbols of Ancient Mesopotamia
    AN ILLUSTRATED DICTIONARY Gods, Demons and Symbols of Ancient Mesopotamia JEREMY BLACK AND ANTHONY GREEN Illustrations by Tessa Rickards Gods, Demons and Symbols of Ancient Mesopotamia An Illustrated Dictionary Jeremy Black and Anthony Green Illustrations by Tessa Rickards THE BRITISH MUSEUM PRESS Jeremy Black The late Dr Black, formerly Director of the British School of Archaeology in Iraq, was a Fellow of Wolfson College, Oxford, and University Lecturer in Akkadian. He was the author of several studies on Sumerian and Babylonian literature and ancient philology, and headed the Electronic Text Corpus of Sumerian Literature project (http://etcsl.orinst.ox.ac.uk ) Anthony Green Dr Green has formerly held the positions of Fellow of the British School of Archaeology in Iraq, J. Paul Getty Postdoctoral Research Fellow in the History of Art at the University of Pennsylvania, G.A. Wainwright Research Fellow in Near Eastern Archaeology at Oxford University, and Alexander von Humboldt Research Fellow at the Free University of Berlin. He is currently Shinji Shumeikai Senior Academic Research Fellow in Near Eastern Art and Archaeology at the Free University of Berlin. He has conducted extensive archaeological fieldwork in Syria and Iraq and writes on ancient Mesopotamian art and archaeology. Tessa Rickards Tessa Rickards is a freelance archaeological illustrator specialising in ancient Mesopotamia. She has worked as an illus- trator on numerous international excavations in the Middle East. She is an MA graduate of the Institute of Archaeology, University College London. Front cover: Green jasper seal depicting a conflict between two heroes, a bull-man, a bull and a lion. Dated 225o BC, origin unknown.
    [Show full text]
  • Anton Parcs – an Absolute Must Read
    ANTON PARCS – AN ABSOLUTE MUST READ esterday someone asked me if I had heard of ANTON PARKS. It became the most important day of the entire work1 When being guided to an author who may have something additional to say about Other Y Worlders, the evidence if these authors are telling us what could be true is validated within the Hidden Texts so if not present in these works – they are considered (by me) to be unworthy of mention. For instance there is a series of videos doing the rounds titled RUSSIAN ALIEN RACES. Although there are a small number which happen to correlate with those of Nostradamus – for the most part there is lacking every bit of evidence of truth about them. Exceptions to this style of presentation have been from Andrew Bassagio, Cornelius Agrippina, John Dee, Da Vinci The Eddurs, En.ki’s 14 Clay Tablets, Jno Cook, Mazzaroth/Rolleston, Ravestein/Tiletanus and Wes Penre. Every one of these authors appears in the hidden texts directly or indirectly, that is; by a chain reference. This list of authors who speak of Other Worlders is further expanded in the following forum to this one ALIENS. The final addition to this list of authors is headed by ANTON PARKS. The reasons for this absolute acceptance of what Anton Parks has written are many, primarily nothing he says disagrees with information in the Hidden Texts, there’s a good start. In particular of the name YHWH. The deciding factor for me was the name the Anun.nakim (what WE call them) and other Off Worlders call themselves.
    [Show full text]
  • Myths of Babylonia and Assyria 1
    Myths of Babylonia and Assyria 1 Myths of Babylonia and Assyria Project Gutenberg's Myths of Babylonia and Assyria, by Donald A. Mackenzie This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re−use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Myths of Babylonia and Assyria Author: Donald A. Mackenzie Release Date: September 5, 2005 [EBook #16653] Language: English Character set encoding: ISO−8859−1 *** START OF THIS PROJECT GUTENBERG EBOOK MYTHS OF BABYLONIA AND ASSYRIA *** Produced by Sami Sieranoja, Tapio Riikonen and PG Distributed Proofreaders MYTHS OF BABYLONIA AND ASSYRIA Donald A. Mackenzie TABLE OF CONTENTS Myths of Babylonia and Assyria 2 Preface Introduction I. The Races and Early Civilization of Babylonia II. The Land of Rivers and the God of the Deep III. Rival Pantheons and Representative Deities IV. Demons, Fairies, and Ghosts V. Myths of Tammuz and Ishtar VI. Wars of the City States of Sumer and Akkad VII. Creation Legend: Merodach the Dragon Slayer VIII. Deified Heroes: Etana and Gilgamesh IX. Deluge Legend, the Island of the Blessed, and Hades X. Buildings and Laws and Customs of Babylon XI. The Golden Age of Babylonia XII. Rise of the Hittites, Mitannians, Kassites, Hyksos, and Assyrians XIII. Astrology and Astronomy XIV. Ashur the National God of Assyria XV. Conflicts for Trade and Supremacy XVI. Race Movements that Shattered Empires XVII. The Hebrews in Assyrian History XVIII. The Age of Semiramis XIX.
    [Show full text]