Humans and the Natural World in Genesis 1-11 and Mesopotamian Mythology Bryton A
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020 7226 1787
Go Noah Go! Education Pack littleangeltheatre.com | 020 7226 1787 John Wright, the founder of Little Angel Theatre, was born in South Africa in 1906. He travelled to England in 1935 and worked as an assistant stage manager for the Ballet Rambert while studying at the Central School of Art and Design. During this time he saw a puppet performance by Podrecca’s Piccoli and became hooked. John made his very first puppet in 1938. In 1961 John and his troupe found a derelict temperance hall in Islington and transformed it into a theatre, designed for the presentation of marionette shows. It opened on Saturday 24th November 1961. This was to be the first purpose built puppet theatre the country had seen for many years and the only one with a permanent long string marionette bridge constructed backstage. The bridge was designed for puppeteers to stand on while they manipulate long stringed puppets who perform on the stage below leaving the audience unable to see the puppeteers. The original bridge is used to this day. The theatre has a traditional ‘proscenium arch’ and seats 100 audience members. John Wright died in 1991 but the work of the theatre continued apace with family, friends and supporters working tirelessly to continue in his footsteps to make sure John’s legacy would delight generations to come. How did Little Angel Theatre start? Angel Theatre start? How did Little “Over the next 30 years, the Little Angel team created and performed over 30 full-scale shows” A Great Flood is coming and Mr and Mrs Noah have been set the most impossible task: to take two of each animal and build them a home! A magical ark that is built on stage, over 50 carved animals and a host of songs to sing along with make this production one of Little Angel Theatre’s most successful and impressive shows. -
The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
Gilgamesh's superiority. They hugged and became best friends. Name Always eager to build a name for himself, Gilgamesh wanted to have an adventure. He wanted to go to the Cedar Forest and slay its guardian demon, Humbaba. Enkidu did not like the idea. He knew The Epic of Gilgamesh Humbaba from his days running wild in the forest. He tried to talk his best friend out of it. But Gilgamesh refused to listen. Reluctantly, By Vickie Chao Enkidu agreed to go with him. A long, long time ago, there After several days of journeying, Gilgamesh and Enkidu at last was a kingdom called Uruk. reached the edge of the Cedar Forest. Their intrusion made Humbaba Its ruler was Gilgamesh. very angry. But thankfully, with the help of the sun god, Shamash, the duo prevailed. They killed Humbaba and cut down the forest. They Gilgamesh, by all accounts, fashioned a raft out of the cedar trees. Together, they set sail along the was not an ordinary person. Euphrates River and made their way back to Uruk. The only shadow He was actually a cast over this victory was Humbaba's curse. Before he was beheaded, superhuman, two-thirds god he shouted, "Of you two, may Enkidu not live the longer, may Enkidu and one-third human. As king, not find any peace in this world!" Gilgamesh was very harsh. His people were scared of him and grew wary over time. They pleaded with the sky god, Anu, for his help. In When Gilgamesh and Enkidu arrived at Uruk, they received a hero's response, Anu asked the goddess Aruru to create a beast-like man welcome. -
The Lost Book of Enki.Pdf
L0ST BOOK °f6NK1 ZECHARIA SITCHIN author of The 12th Planet • . FICTION/MYTHOLOGY $24.00 TH6 LOST BOOK OF 6NK! Will the past become our future? Is humankind destined to repeat the events that occurred on another planet, far away from Earth? Zecharia Sitchin’s bestselling series, The Earth Chronicles, provided humanity’s side of the story—as recorded on ancient clay tablets and other Sumerian artifacts—concerning our origins at the hands of the Anunnaki, “those who from heaven to earth came.” In The Lost Book of Enki, we can view this saga from a dif- ferent perspective through this richly con- ceived autobiographical account of Lord Enki, an Anunnaki god, who tells the story of these extraterrestrials’ arrival on Earth from the 12th planet, Nibiru. The object of their colonization: gold to replenish the dying atmosphere of their home planet. Finding this precious metal results in the Anunnaki creation of homo sapiens—the human race—to mine this important resource. In his previous works, Sitchin com- piled the complete story of the Anunnaki ’s impact on human civilization in peacetime and in war from the frag- ments scattered throughout Sumerian, Akkadian, Babylonian, Assyrian, Hittite, Egyptian, Canaanite, and Hebrew sources- —the “myths” of all ancient peoples in the old world as well as the new. Missing from these accounts, however, was the perspective of the Anunnaki themselves What was life like on their own planet? What motives propelled them to settle on Earth—and what drove them from their new home? Convinced of the existence of a now lost book that formed the basis of THE lost book of ENKI MFMOHCS XND PKjOPHeCieS OF XN eXTfCXUfCWJTWXL COD 2.6CHXPJA SITCHIN Bear & Company Rochester, Vermont — Bear & Company One Park Street Rochester, Vermont 05767 www.InnerTraditions.com Copyright © 2002 by Zecharia Sitchin All rights reserved. -
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography BY PAUL JOSEPH KRAUSE The eagle-god is a prominent iconographic symbol of ancient Mesopotamian religion which wielded tremendous power in the Mesopotamian imagination. The eagle-like gods of Mesopotamia eventually evolved into double-headed gods whose depictions became widespread in imperial and religious symbolism and iconography in Sumer and Akkad.1 These symbols now have common misapprehension as in the common public as being tied to Byzantine Empire of Late Antiquity and the Middle Ages. Rather, the Byzantines most likely inherited these Mesopotamian symbols and employed them in a similar manner as the Sumerians, Akkadians, and Hittites did. Likewise, the iconographic symbols of the moon god Nanna-Sin, who had the power to render the fate of humans,2 re-appeared in early Christian iconography depicting Christ in the Last Judgment. To best understand the iconographic practices and symbols used by the Byzantine Empire and emerging early Christian Church is to understand the foundational contexts by which these symbols first arose and the common religious practice of transferring and re-dedicating prior religious shrines to new deities. “Today the Byzantine eagle flutters proudly from the flags of nations from Albania to Montenegro, and though each state has its local version of the church, the heritage they all bear 1 C.N. Deedes, “The Double-Headed God,” Folklore 46, no. 3 (1935): 197-200. 2 See Samuel Noah Kramer, The Sumerians: Their History, Culture, and Character (Chicago: University of Chicago Press, 1971), 132; Georges Roux, Ancient Iraq (New York: Penguin Books, 1992), 88. -
Serpent Symbols and Salvation in the Ancient Near East and the Book of Mormon
Journal of Book of Mormon Studies Volume 10 Number 2 Article 8 7-31-2001 Serpent Symbols and Salvation in the Ancient Near East and the Book of Mormon Andrew C. Skinner Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Skinner, Andrew C. (2001) "Serpent Symbols and Salvation in the Ancient Near East and the Book of Mormon," Journal of Book of Mormon Studies: Vol. 10 : No. 2 , Article 8. Available at: https://scholarsarchive.byu.edu/jbms/vol10/iss2/8 This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title Serpent Symbols and Salvation in the Ancient Near East and the Book of Mormon Author(s) Andrew C. Skinner Reference Journal of Book of Mormon Studies 10/2 (2001): 42–55, 70–71. ISSN 1065-9366 (print), 2168-3158 (online) Abstract The serpent is often used to represent one of two things: Christ or Satan. This article synthesizes evi- dence from Egypt, Mesopotamia, Phoenicia, Greece, and Jerusalem to explain the reason for this duality. Many scholars suggest that the symbol of the serpent was used anciently to represent Jesus Christ but that Satan distorted the symbol, thereby creating this para- dox. The dual nature of the serpent is incorporated into the Old Testament, the New Testament, and the Book of Mormon. erpent ymbols & SSalvation in the ancient near east and the book of mormon andrew c. -
(Un)Natural Pairings: Fantastic, Uncanny, Monstrous, and Cyborgian Encounters in Contemporary Central American and Hispanic Caribbean Literature” By
“(Un)Natural Pairings: Fantastic, Uncanny, Monstrous, and Cyborgian Encounters in Contemporary Central American and Hispanic Caribbean Literature” By Jennifer M. Abercrombie Foster @ Copyright 2016 Submitted to the graduate degree program in Spanish and Portuguese and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Co-Chairperson, Yajaira Padilla ________________________________ Co-Chairperson, Verónica Garibotto ________________________________ Jorge Pérez ________________________________ Vicky Unruh ________________________________ Hannah Britton ________________________________ Magalí Rabasa Date Defended: May 3, 2016 ii The Dissertation Committee for Jennifer M. Abercrombie Foster certifies that this is the approved version of the following dissertation: “(Un)Natural Pairings: Fantastic, Uncanny, Monstrous, and Cyborgian Encounters in Contemporary Central American and Hispanic Caribbean Literature” ________________________________ Co-Chairperson, Yajaira Padilla ________________________________ Co-Chairperson, Verónica Garibotto Date approved: May 9, 2016 iii Abstract Since the turn of the 20th century many writers, playwrights, and poets in Central America and the Hispanic Caribbean have published fantastic, gritty, and oftentimes unsettling stories of ghosts, anthropomorphic animals, zoomorphic humans, and uncanny spaces. These unexpected encounters and strange entities are an embodiment of muddled boundaries and -
The Epic of Gilgamesh
Cambridge University Press 978-0-521-88094-7 - The Cambridge Companion to the Epic Edited by Catherine Bates Excerpt More information 1 A. R. GEORGE The Epic of Gilgamesh Introduction The name ‘Epic of Gilgamesh’ is given to the Babylonian poem that tells the deeds of Gilgamesh, the greatest king and mightiest hero of ancient Mesopotamian legend. The poem falls into the category ‘epic’ because it is a long narrative poem of heroic content and has the seriousness and pathos that have sometimes been identified as markers of epic. Some early Assyri- ologists, when nationalism was a potent political force, characterized it as the ‘national epic’ of Babylonia, but this notion has deservedly lapsed. The poem’s subject is not the establishment of a Babylonian nation nor an episode in that nation’s history, but the vain quest of a man to escape his mortality. In its final and best-preserved version it is a sombre meditation on the human condition. The glorious exploits it tells are motivated by individ- ual human predicaments, especially desire for fame and horror of death. The emotional struggles related in the story of Gilgamesh are those of no collective group but of the individual. Among its timeless themes are the friction between nature and civilization, friendship between men, the place in the universe of gods, kings and mortals, and the misuse of power. The poem speaks to the anxieties and life-experience of a human being, and that is why modern readers find it both profound and enduringly relevant. Discovery and recovery The literatures of ancient Mesopotamia, chiefly in Sumerian and Babylonian (Akkadian), were lost when cuneiform writing died out in the first century ad. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Mami Wata Arts for Water Spirits in Africa and Its Diasporas
exhibition preview Mami Wata Arts for Water Spirits in Africa and Its Diasporas Henry John Drewal “EEH, IF YOU SEE MAMI WATA, NEVER YOU RUN AWAy…” with contributions by Marilyn (SIR VICTOR UWAIFO, GUITAR BOY, 1967) Houlberg, Bogumil Jewsiewicki, John W. Nunley, and Jill Salmons ami Wata: Arts for Water Spirits in Africa and Its Diasporas” explores the visual cultures and histories of African and African Atlantic water deities and reveals the power and potency of images and ideas to shape the lives of people, communities, and societies. The exhibition has several sections: The first introduces Mami Wata, her person- Mality, attributes, and visual culture. The next offers a broad his- Fowler Museum at UCLA torical overview of the sources and currents that constitute her Los Angeles visual history. This is followed by a series of case studies that April 6–August 10, 2008 demonstrate specific cultural, historical and artistic forces that have shaped Mami Wata and water spirit imagery in different Chazen Museum of Art places on the African continent, while the next part treats a simi- lar theme for some of Mami Wata’s spirit sisters in the African University of Wisconsin, Madison Atlantic world. The final section considers Mami Wata as the October 18, 2008–January 11, muse that has inspired contemporary artists from Africa, the 2009 Caribbean and the United States. Here, a condensed introduc- tion and art historical overview are followed by a selection of National Museum of African Art objects from the other parts of the exhibition. Smithsonian Institution Washington DC INTRODUCING MAMI WATA At once beautiful, protective, seductive, and potentially April 1, 2009–July 26, 2009 deadly, the water spirit Mami Wata (Mother Water) is celebrated throughout much of Africa and the African Atlantic worlds. -
Mami Wata Arts for Water Spirits in Africa and Its Diasporas
exhibition preview Mami Wata Arts for Water Spirits in Africa and Its Diasporas Henry John Drewal "EEH, IF YOU SEE MAMI WATA, NEVER YOU RUN AWAY..." with contributions by Marilyn (SIR VICTOR UWAIFO, GUITAR BOY, 1967J Houlberg, Bogumil Jewsiewicki, John W. Nunley, and Jill Salmons ami Wata: Arts for Water Spirits in Africa and Its Diasporas" explores the visual cultures and histories of African and African Atlantic water deities and reveals the power and potency of images and ideas to shape the lives of people, communities, and societies. The exhibition has several sections: The first introduces Mami Wata, her person- ality, attributes, and visual culture. The next offers a broad his- Fowler Museum at UCLA torical overview of the sources and currents that constitute her Los Angeles visual history. This is followed by a series of case studies that April 6-August 10, 2008 demonstrate specific cultural, historical and artistic forces that have shaped Mami Wata and water spirit imagery in different Chazen Museum of Art places on the African continent, while the next part treats a simi- lar theme for some of Mami Wata's spirit sisters in the African University of Wisconsin, Madison Atlantic world. The final section considers Mami Wata as the October 18, 2008-January 11, muse that has inspired contemporary artists from Africa, the 2009 Caribbean and the United States. Here, a condensed introduc- tion and art historical overview are followed by a selection of National Museum of African Art objects from the other parts of the exhibition. Smithsonian Institution Washington DC INTRODUCING MAMI WATA April 1,2009-July26, 2009 At once beautiful, protective, seductive, and potentially deadly, the water spirit Mami Wata (Mother Water) is celebrated throughout much of Africa and the African Atlantic worlds. -
Humbaba Research Packet.Pdf
HUMBABA Research Packet Compiled by Cassi Schiano and Christine Scarfuto CONTENTS: History of the Epic of Gilgamesh Summary of the Epic (and the Twelve Tablets) Character Info on Gilgamesh, Enkidu, and Humbaba Brief Historical Info: Babylon Ancient Rome The Samurai Colonial England War in Afghanistan 1 History of The Epic of Gilgamesh The Epic of Gilgamesh is epic poetry from Mesopotamia and is among the earliest known works of literature. The story revolves around a relationship between Gilgamesh (probably a real ruler in the late Early Dynastic II period ca. 27th century BC) and his close male companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances. The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst of his quest foreshadow the end result: "The life that you are seeking you will never find. When the gods created man they allotted to him death, but life they retained in their own keeping." Gilgamesh, however, was celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishtim. -
Mesopotamian Culture
MESOPOTAMIAN CULTURE WORK DONE BY MANUEL D. N. 1ºA MESOPOTAMIAN GODS The Sumerians practiced a polytheistic religion , with anthropomorphic monotheistic and some gods representing forces or presences in the world , as he would later Greek civilization. In their beliefs state that the gods originally created humans so that they serve them servants , but when they were released too , because they thought they could become dominated by their large number . Many stories in Sumerian religion appear homologous to stories in other religions of the Middle East. For example , the biblical account of the creation of man , the culture of The Elamites , and the narrative of the flood and Noah's ark closely resembles the Assyrian stories. The Sumerian gods have distinctly similar representations in Akkadian , Canaanite religions and other cultures . Some of the stories and deities have their Greek parallels , such as the descent of Inanna to the underworld ( Irkalla ) resembles the story of Persephone. COSMOGONY Cosmogony Cosmology sumeria. The universe first appeared when Nammu , formless abyss was opened itself and in an act of self- procreation gave birth to An ( Anu ) ( sky god ) and Ki ( goddess of the Earth ), commonly referred to as Ninhursag . Binding of Anu (An) and Ki produced Enlil , Mr. Wind , who eventually became the leader of the gods. Then Enlil was banished from Dilmun (the home of the gods) because of the violation of Ninlil , of which he had a son , Sin ( moon god ) , also known as Nanna . No Ningal and gave birth to Inanna ( goddess of love and war ) and Utu or Shamash ( the sun god ) .