From Indo-European Dragon Slaying to Isa 27.1 a Study in the Longue Durée Wikander, Ola
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1 & 2 Samuel Series Lesson #176
1 & 2 Samuel Series Lesson #176 June 25, 2019 Dean Bible Ministries www.deanbibleministries.org Dr. Robert L. Dean, Jr. LEVIATHAN, TANNIN, AND RAHAV–PART 3 2 SAMUEL 7:18–29; PSALM 89:10 What the Bible Teaches About The Davidic Covenant Psa. 89:10, “You have broken Rahab in pieces, as one who is slain; You have scattered Your enemies with Your mighty arm.” comm masc sing abs Rahab, Rahav רהַב proper Rahab, literally, Rachav, name רָ חָב This term shows up in in Job 9:13; Job 26:12; Psalm 89:10; Isaiah 51:9. TWOT describes the verbal form in this manner: The basic meaning of the noun is arrogance. Rahav, can best be translated as “the arrogant one.” 1. God created all living things including Rahav, leviathan, behemoth, the sea, and the tannin. These are real, not mythological creatures and creation. 2. God in His omniscience designed all of these things. Their design was intentional, with a view to how they would be used as biblical symbols as well as mythological representations. Tracing these “sea monsters” 1. Yam 2. Tannin 3. Leviathan 4. Rahav 5. Behemoth GOD the Creator Mythological Deities All creatures: Yam, Leviathan, Behemoth, Tannin, Rahav designed with a purpose Uses God’s creatures to represent pagan deities [demons] and to describe origin myths. Referred to in the Bible: 1. As actual, historical creatures, and also 2. with a view to their mythological connotations to communicate God vs. evil. Job 9:13, “God will not turn back His anger; Beneath Him crouch the helpers of Rahav.” [NKJV: allies of the proud] Isa. -
Idolatry in the Ancient Near East1
Idolatry in the Ancient Near East1 Ancient Near Eastern Pantheons Ammonite Pantheon The chief god was Moloch/Molech/Milcom. Assyrian Pantheon The chief god was Asshur. Babylonian Pantheon At Lagash - Anu, the god of heaven and his wife Antu. At Eridu - Enlil, god of earth who was later succeeded by Marduk, and his wife Damkina. Marduk was their son. Other gods included: Sin, the moon god; Ningal, wife of Sin; Ishtar, the fertility goddess and her husband Tammuz; Allatu, goddess of the underworld ocean; Nabu, the patron of science/learning and Nusku, god of fire. Canaanite Pantheon The Canaanites borrowed heavily from the Assyrians. According to Ugaritic literature, the Canaanite pantheon was headed by El, the creator god, whose wife was Asherah. Their offspring were Baal, Anath (The OT indicates that Ashtoreth, a.k.a. Ishtar, was Baal’s wife), Mot & Ashtoreth. Dagon, Resheph, Shulman and Koshar were other gods of this pantheon. The cultic practices included animal sacrifices at high places; sacred groves, trees or carved wooden images of Asherah. Divination, snake worship and ritual prostitution were practiced. Sexual rites were supposed to ensure fertility of people, animals and lands. Edomite Pantheon The primary Edomite deity was Qos (a.k.a. Quas). Many Edomite personal names included Qos in the suffix much like YHWH is used in Hebrew names. Egyptian Pantheon2 Egyptian religion was never unified. Typically deities were prominent by locale. Only priests worshipped in the temples of the great gods and only when the gods were on parade did the populace get to worship them. These 'great gods' were treated like human kings by the priesthood: awakened in the morning with song; washed and dressed the image; served breakfast, lunch and dinner. -
The Dragon Prince by Laurence Yep a Chinese Beauty and the Beast Tale
Cruchley’s Collection Diana Cruchley is an award-winning educator and author, who has taught at elementary and secondary levels. Her workshop are practical, include detailed handouts, and are always enthusiastically received. Diana Cruchley©2019. dianacruchley.com The Dragon Prince by Laurence Yep A Chinese Beauty and the Beast Tale A poor farmer with seven daughters is on his way home from his farm when a dragon seizes him and says he will eat him unless one of his daughters marries him. Seven (who makes money for the family with her excellent embroidery) agrees and they fly away to a gorgeous home, wonderful clothes, a great life…and he reveals he is a prince in disguise. She misses her home, and while there, Three, who is jealous, pushes her in the river and steals her identity. Three is rescued by an old lady and uses her wonderful sewing skills to make clothes and shoes they can sell in the market. The prince, realizing something is wrong, seeks his real bride and finds her because he sees her embroidery in the market. Happy ending all around – except for Three. Lawrence Yep, Harper Collins, ©1999, ISBN 978-0064435185 Teaching Ideas Art There are some nice Youtube instructions on “how to draw a Chinese dragon” that your students would enjoy learning. I liked the one by Paolo Marrone. Lawrence Yep He doesn’t have a website, but there is an interview of Lawrence Yep on line. He has written 60 books and won 2 Newberry awards. He also writes science fiction for adolescent readers. -
Worthless Deities in the Hebrew Text
Worthless Deities Listed in the Hebrew Text by Kathryn QannaYahu I would like to thank my daughters Leviyah and Genevieve for their support, both encouragement and financial so that I could work on this study full time. I would also like to thank the Bozeman Public Library, especially Mary Ann Childs, who handled well over a hundred of my interlibrary loans during these two years. Subcategory Links Foreign Language Intro Study Intro Proto-Indo-Europeans and the Patriarchy From Clan Mother To Goddess Ancestor Worship/Cult of the Dead Therafiym Molek/Melek Nechushthan and Sherafiym Astral Cult Seal of God – Mark of the Beast Deities Amurru / Amorite Ugaritic / Canaanite Phoenician / Felishthiym [Philistine] / Carthaginian Syrian / Aramean Babylonian / Assyrian Map of Patron Deity City Names Reference Book List Foreign Language Intro This study incorporates many textual elements that need their own introduction because of all the languages presented. For the Hebrew, I use a Hebrew font that you will not be able to view without a download, unless you happen to have the font from another program. If you should see odd letters strung together where a name or word is being explained, you probably need the font. It is provided on my fonts page http://www.lebtahor.com/Resources/fonts.htm . Since Hebrew does not have an upper and lower case, another font used for the English quoting of the Tanak/Bible is the copperplate, which does not have a case. I use this font when quoting portions of the Tanak [Hebrew Bible], to avoid translator emphasis that capitalizing puts a slant on. -
On Program and Abstracts
INTERNATIONAL ASSOCIATION FOR COMPARATIVE MYTHOLOGY & MASARYK UNIVERSITY, BRNO, CZECH REPUBLIC TENTH ANNUAL INTERNATIONAL CONFERENCE ON COMPARATIVE MYTHOLOGY TIME AND MYTH: THE TEMPORAL AND THE ETERNAL PROGRAM AND ABSTRACTS May 26-28, 2016 Masaryk University Brno, Czech Republic Conference Venue: Filozofická Fakulta Masarykovy University Arne Nováka 1, 60200 Brno PROGRAM THURSDAY, MAY 26 08:30 – 09:00 PARTICIPANTS REGISTRATION 09:00 – 09:30 OPENING ADDRESSES VÁCLAV BLAŽEK Masaryk University, Brno, Czech Republic MICHAEL WITZEL Harvard University, USA; IACM THURSDAY MORNING SESSION: MYTHOLOGY OF TIME AND CALENDAR CHAIR: VÁCLAV BLAŽEK 09:30 –10:00 YURI BEREZKIN Museum of Anthropology and Ethnography & European University, St. Petersburg, Russia OLD WOMAN OF THE WINTER AND OTHER STORIES: NEOLITHIC SURVIVALS? 10:00 – 10:30 WIM VAN BINSBERGEN African Studies Centre, Leiden, the Netherlands 'FORTUNATELY HE HAD STEPPED ASIDE JUST IN TIME' 10:30 – 11:00 LOUISE MILNE University of Edinburgh, UK THE TIME OF THE DREAM IN MYTHIC THOUGHT AND CULTURE 11:00 – 11:30 Coffee Break 11:30 – 12:00 GÖSTA GABRIEL Georg-August-Universität Göttingen, Germany THE RHYTHM OF HISTORY – APPROACHING THE TEMPORAL CONCEPT OF THE MYTHO-HISTORIOGRAPHIC SUMERIAN KING LIST 2 12:00 – 12:30 VLADIMIR V. EMELIANOV St. Petersburg State University, Russia CULTIC CALENDAR AND PSYCHOLOGY OF TIME: ELEMENTS OF COMMON SEMANTICS IN EXPLANATORY AND ASTROLOGICAL TEXTS OF ANCIENT MESOPOTAMIA 12:30 – 13:00 ATTILA MÁTÉFFY Hacettepe University, Ankara, Turkey & Georg-August-Universität Göttingen, -
An Example Reinterpreting the British Isles' Most Detailed Account of a Sea Serpent Sight
RESEARCH ARTICLE Ethnobiology and Conservation 2019, 8:12 (12 October 2019) doi:10.15451/ec2019-10-8.12-1-31 ISSN 22384782 ethnobioconservation.com Ethnobiology and Shifting Baselines: An Example Reinterpreting the British Isles’ Most Detailed Account of a Sea Serpent Sighting as Early Evidence for PrePlastic Entanglement of Basking Sharks Robert L. France ABSTRACT Recognizing shifts in baseline conditions is necessary for understanding longterm changes in populations as a prelude to implementing presentday management actions and setting future restoration goals for anthropogenicallyaltered marine ecosystems. Examining historical information contained within anecdotal accounts from nontraditional sources has previously proven useful in this regard. Herein, I scrutinize eyewitness accounts and accompanying illustrations published in nineteenthcentury natural history journals which together comprise the most detailed description of sighting a purported sea serpent in the British Isles. I then reinterpret this anecdote (as well as complementary evidence offered by cryptozooloogists in its support obtained from other published journal articles of similarly described unidentified marine objects), suggesting it to provide one of the earliest reports of the nonlethal entanglement of an animal—in this case what I believe to have been a basking shark—in European waters. The present work suggests that the entanglement of sharks in fishing gear or hunting equipment has a much longer environmental history than is commonly believed, and provides another example of how ethnozoological studies can contribute toward recognizing past fishingrelated pressures and baseline shifts in affected populations. Sharks, it seems, have been subjected to the impacts of not just direct fishery exploitation but also through becoming bycatch, long before the advent and widespread use of plastic in the middle of the twentieth century. -
Who Maketh the Clouds His Chariot: the Comparative Method and The
LIBERTY UNIVERSITY SCHOOL OF RELIGION WHO MAKETH THE CLOUDS HIS CHARIOT: THE COMPARATIVE METHOD AND THE MYTHOPOETICAL MOTIF OF CLOUD-RIDING IN PSALM 104 AND THE EPIC OF BAAL A THESIS SUBMITTED TO THE FACULTY OF LIBERTY UNIVERSITY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN RELIGIOUS STUDIES BY JORDAN W. JONES LYNCHBURG, VIRGINIA APRIL 2010 “The views expressed in this thesis do not necessarily represent the views of the institution and/or of the thesis readers.” Copyright © 2009 by Jordan W. Jones All Rights Reserved ii ACKNOWLEDGMENTS To Dr. Don Fowler, who introduced me to the Hebrew Bible and the ancient Near East and who instilled in me an intellectual humility when studying the Scriptures. To Dr. Harvey Hartman, who introduced me to the Old Testament, demanded excellence in the classroom, and encouraged me to study in Jerusalem, from which I benefited greatly. To Dr. Paul Fink, who gave me the opportunity to do graduate studies and has blessed my friends and I with wisdom and a commitment to the word of God. To James and Jeanette Jones (mom and dad), who demonstrated their great love for me by rearing me in the instruction and admonition of the Lord and who thought it worthwhile to put me through college. <WqT* <yx!u&oy br)b=W dos /ya@B= tobv*j&m^ rp@h* Prov 15:22 To my patient and sympathetic wife, who endured my frequent absences during this project and supported me along the way. Hn`ovl=-lu^ ds#j#-tr~otw+ hm*k=j*b= hj*t=P* h*yP! Prov 31:26 To the King, the LORD of all the earth, whom I love and fear. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Baal, Son of Dagan: in Search of Baal's Double Paternity Author(S): Noga Ayali-Darshan Source: Journal of the American Oriental Society, Vol
Baal, Son of Dagan: In Search of Baal's Double Paternity Author(s): Noga Ayali-Darshan Source: Journal of the American Oriental Society, Vol. 133, No. 4 (October-December 2013), pp. 651-657 Published by: American Oriental Society Stable URL: http://www.jstor.org/stable/10.7817/jameroriesoci.133.4.0651 Accessed: 28-02-2017 21:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms American Oriental Society is collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Oriental Society This content downloaded from 132.174.255.49 on Tue, 28 Feb 2017 21:36:59 UTC All use subject to http://about.jstor.org/terms Baal, Son of Dagan: In Search of Baal’s Double Paternity NOGA AYALI-DARSHAN THE HEBREW UNIVERSITY The Ugaritic expression “Baal, son of Dagan” has been the subject of several studies which attempt to resolve the contradiction between the depiction of Baal as El’s son on the one hand and the expression “Baal, son of Dagan” (bʿl bn dgn) on the other. Despite the paucity of literary evidence, the majority of scholars have identified Dagan with either El or Baal, consequently attributing a single “real” father to Baal. -
De-Demonising the Old Testament
De-Demonising the Old Testament An Investigation of Azazel , Lilith , Deber , Qeteb and Reshef in the Hebrew Bible Judit M. Blair Doctor of Philosophy University of Edinburgh 2008 Declaration I declare that the present thesis has been composed by me, that it represents my own research, and that it has not been submitted for any other degree or professional qualification. ______________________ Judit M. Blair ii ACKNOWLEDGEMENTS There are many people to thank and acknowledge for their support and help over the past years. Firstly I would like to thank the School of Divinity for the scholarship and the opportunity they provided me in being able to do this PhD. I would like to thank my ‘numerous’ supervisors who have given of their time, energy and knowledge in making this thesis possible: To Professor Hans Barstad for his patience, advice and guiding hand, in particular for his ‘adopting’ me as his own. For his understanding and help with German I am most grateful. To Dr Peter Hayman for giving of his own time to help me in learning Hebrew, then accepting me to study for a PhD, and in particular for his attention to detail. To Professor Nick Wyatt who supervised my Masters and PhD before his retirement for his advice and support. I would also like to thank the staff at New College Library for their assistance at all times, and Dr Jessie Paterson and Bronwen Currie for computer support. My fellow colleagues have provided feedback and helpful criticism and I would especially like to thank all members of HOTS-lite I have known over the years. -
Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery
Ora Brison Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery This essay focuses on the role of Anatolian music in erotic and sexual contexts — especially of its function in mythological seduction scenes. In these scenes, music is employed as a means of enhancing erotic seduction. A number of cultic, sexual iconographic representations associated with musical instruments and performers of music will also be discussed. Historical Background Most of the data on the music culture of the Anatolian civilizations comes from the Old Hittite and Hittite Imperial periods, dating from 1750 to 1200 bce, though some data comes from the Neo-Hittite period, namely 1200 to 800 bce.1 The textual sources relate mainly to religious state festivals, ceremonies and rituals. It is likely that Hittite music culture reflected the musical traditions of the native Anatolian cultures — the Hattians2 — as well as the influences of other migrating ethnic groups, such as the Hurrians3 or the Luwians,4 who settled in Anatolia. Hittite music culture also shows the musical influence of and fusion with the neighboring major civilizations: Mesopotamia, Egypt and the Aegean (Schuol 2004: 260). Our knowledge of Anatolian music, musical instruments, musicians, singers and performers is based on extensive archaeological evidence, textual and visual, as well as on recovered pieces of musical artifacts. Much of the data has been collected from the corpus of religious texts and cultic iconographic representations. Nevertheless, we can assume that music, song and dance played a significant role not only in reli- gious practices, but also in many aspects of daily life (de Martino 1995: 2661). -
Tolkien's Treatment of Dragons in Roverandom and Farmer Giles of Ham
Volume 34 Number 1 Article 8 10-15-2015 "A Wilderness of Dragons": Tolkien's Treatment of Dragons in Roverandom and Farmer Giles of Ham Romuald I. Lakowski MacEwan University in Edmonton, Canada Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Lakowski, Romuald I. (2015) ""A Wilderness of Dragons": Tolkien's Treatment of Dragons in Roverandom and Farmer Giles of Ham," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 34 : No. 1 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol34/iss1/8 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract An exploration of Tolkien’s depictions of dragons in his stories for children, Roverandom and Farmer Giles of Ham. Draws on “On Fairy-stories,” the Beowulf lecture, the Father Christmas letters, and a little-known “Lecture on Dragons” Tolkien gave to an audience of children at the University Museum in Oxford, as well as source Tolkien would have known: Nennius, The Fairy Queene, and so on.