Sumero-Akkadian Interconnections : Religious Ideas
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Burn Your Way to Success Studies in the Mesopotamian Ritual And
Burn your way to success Studies in the Mesopotamian Ritual and Incantation Series Šurpu by Francis James Michael Simons A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of Classics, Ancient History and Archaeology School of History and Cultures College of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The ritual and incantation series Šurpu ‘Burning’ is one of the most important sources for understanding religious and magical practice in the ancient Near East. The purpose of the ritual was to rid a sufferer of a divine curse which had been inflicted due to personal misconduct. The series is composed chiefly of the text of the incantations recited during the ceremony. These are supplemented by brief ritual instructions as well as a ritual tablet which details the ceremony in full. This thesis offers a comprehensive and radical reconstruction of the entire text, demonstrating the existence of a large, and previously unsuspected, lacuna in the published version. In addition, a single tablet, tablet IX, from the ten which comprise the series is fully edited, with partitur transliteration, eclectic and normalised text, translation, and a detailed line by line commentary. -
Readingsample
Schlangendarstellungen in Mesopotamien und Iran vom 8. bis 2. Jt. v. Chr. Quellen, Deutungen und kulturübergreifender Vergleich Bearbeitet von Birgit Kahler Erstauflage 2015. Taschenbuch. 140 S. Paperback ISBN 978 3 95935 056 3 Format (B x L): 15,5 x 22 cm Weitere Fachgebiete > Geschichte > Alte Geschichte & Archäologie > Altorientalische Geschichte & Archäologie schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Leseprobe Textprobe 3.1.4 Ningizzid Ningizzida ist wie sein Vater Ninazu ein Unterwelts- und Kriegsgott. Man kann davon ausgehen, dass er in Lagaš von Gudea eingeführt wurde, da er dort erst mit diesem auftaucht, wohingegen er in Ešnunna früher schon sehr oft zu sehen ist. Gudea beruft sich auf ihn in Verbindung mit Fruchtbarkeit („a god of much good progeny”). Sein zweiter Name Gišbanda, junger Baum, ist sowohl in der Nippur-Götterliste enthalten, als auch der Name seines Kultzentrums zwischen Ur und Lagaš. Dieses Zentrum erscheint nicht in Wirtschaftstexten, sondern wird nur in Tempelhymnen als „ehrfurchteinflößender Platz mitten auf dem Feld” genannt Schlange und Wurzeln Interessant ist in diesem Zusammenhang, dass man Schlangen und Baumwurzeln für identisch ansah und demzufolge das Wort Wurzel mit dem Bild überkreuzter Schlangen schrieb. Hierzu passt auch die Geschichte von Inanna, wie sie in ihrem Garten in Uruk einen Baum pflanzt, in dessen Wurzelwerk eine Schlange nistet Inanna fischt einen ausgerissenen Baum aus dem Fluss und pflanzt ihn in ihrem Garten in Uruk ein, um daraus später ein Bett und einen Stuhl zu fertigen. -
NINAZU, the PERSONAL DEITY of GUDEA Toshiko KOBAYASHI*
NINAZU, THE PERSONAL DEITY OF GUDEA -The Continuity of Personal Deity of Rulers on the Royal Inscriptions of Lagash- Toshiko KOBAYASHI* I. Introduction 1. Historical materials from later periods For many years, I have examined the personal deities of rulers in Pre- Sargonic Lagash.(1) There are not many historical materials about the personal deities from Pre-Sargonic times. In as much as the materials are limited chiefly to the personal deities recorded in the royal inscriptions, not all aspects of personal deities are clear. In my paper "On Ninazu, as Seen in the Economic Texts of the Early Dynastic Lagas (1)" in Orient XXVIII, I discussed Ninazu, who appears in the administrative-economic texts of Pre-Sargonic Lagash. Ninazu appears only in the offering-lists in the reign of Uruinimgina, the last ruler of Pre-Sargonic Lagash. Based only on an analysis of the offering-lists, I argued that Ninazu was the personal deity of a close relative of Uruinimgina. In my investigation thus far of the extant historical materials from Pre-Sargonic Lagash, I have not found any royal inscriptions and administrative-economic texts that refer to Ninazu as dingir-ra-ni ("his deity"), that is, as his personal deity. However, in later historical materials two texts refer to Ninazu as "his deity."(2) One of the texts is FLP 2641,(3) a royal inscription by Gudea, engraved on a clay cone. The text states, "For his deity Ninazu, Gudea, ensi of Lagash, built his temple in Girsu." Gudea is one of the rulers belonging to prosperous Lagash in the Pre-Ur III period; that is, when the Akkad dynasty was in decline, after having been raided by Gutium. -
CHIASM in SUMERO-AKKADIAN Robert F
CHIASM IN SUMERO-AKKADIAN Robert F. Smith The following remarks do no more than present a preliminary survey of evidence for short as well as extended inversions from a sampling of late Sumerian and Akkad ian literary texts. Archaic and Old Sumerian literature are left unexamined (early 3rd millenium B. C.)1, while much of what is presented here reflects the Neo-Sumerian (Ur III) and Sargonide Akkadian periods — though in versions prepared or copies made when Sumerian had become no more than a literary-scribal tool of Assyro-Babyionian culture. Having invented cuneiform script, The world's oldest method of writing, and having developed a rich literary tradition, the Sumerians and their culture passed en tirely from the scene — leaving mainly an oral and written legacy for the remaining two millenia B. C.^ The Simple Chiasm Simple direct parallelism is a well-known feature of Sumero-Akkadian literature, though, as elsewhere, the formulae used differ somewhat between poetry and prose.4 Syntactic limitations make short, grammatical inversions rare in Sumerian; yet they do occur. The simplest Sumerian chiasms involve nominal bimembral exchanges, as in the following bicolon from the prologue to „Gilgamesh, Enkidu, and the Netherworld"5 (abc:bac'): 8 After heaven from earth had been moved, 9 After earth from heaven had been separated, There are more elements, but less variation in the bicolon from the close of Sumer ian "Enlil and Ninlil: The Begetting of Nanna,"6 abcd:cbad, Lord of heaven, lord of abundance, and lord of earth you are, Lord of earth, lord of abundance, and lord of heaven you are. -
Inanna a Commentary on Scenes of the Play
Inanna A Commentary on Scenes of the Play What is an Archetype? ‘Archetype’ defies simple definition. The word comes from the Greek arche and tupos. Arche means ‘first principle’ i.e. the creative source which cannot be seen directly. Tupos means ‘impression’ i.e. one of many manifestations of the first principle. Carl Jung said: … their origin can only be explained by assuming them to be deposits [in the unconscious] of the constantly repeated experiences of humanity. (CW7:109) It is an inherited tendency of the human mind to form representations of mythological motifs … that vary a great deal without losing their basic pattern … this tendency is instinctive, like the specific impulse of nest-building, migration, etc. in birds. (CW18:52) The collective unconscious comprises in itself the psychic life of our ancestors right back to the earliest beginnings. It is the matrix of all conscious psychic occurrences. (CW 8: 230) The contents of the collective unconscious are not only residues of archaic specifically human modes of functioning, but also the residues of functions from [our] animal ancestry … (CW7:159) Inanna and the pantheon of gods and goddesses are universally imagined concepts that emerge from the silt of the Unconscious. They serve as beacons that point the way in a life that is vast and lonely. From the beginning of time, humans have dreamt with desire and fear about their forebears: their mothers, fathers and children; their wise elders, their kings and queens, heroes, princes and princesses; martyrs, saints, demons and fools. The procession of emotionally laden images is endless. -
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 ) . -
Asher-Greve / Westenholz Goddesses in Context ORBIS BIBLICUS ET ORIENTALIS
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources Asher-Greve, Julia M ; Westenholz, Joan Goodnick Abstract: Goddesses in Context examines from different perspectives some of the most challenging themes in Mesopotamian religion such as gender switch of deities and changes of the status, roles and functions of goddesses. The authors incorporate recent scholarship from various disciplines into their analysis of textual and visual sources, representations in diverse media, theological strategies, typologies, and the place of image in religion and cult over a span of three millennia. Different types of syncretism (fusion, fission, mutation) resulted in transformation and homogenization of goddesses’ roles and functions. The processes of syncretism (a useful heuristic tool for studying the evolution of religions and the attendant political and social changes) and gender switch were facilitated by the fluidity of personality due to multiple or similar divine roles and functions. Few goddesses kept their identity throughout the millennia. Individuality is rare in the iconography of goddesses while visual emphasis is on repetition of generic divine figures (hieros typos) in order to retain recognizability of divinity, where femininity is of secondary significance. The book demonstrates that goddesses were never marginalized or extrinsic and thattheir continuous presence in texts, cult images, rituals, and worship throughout Mesopotamian history is testimony to their powerful numinous impact. This richly illustrated book is the first in-depth analysis of goddesses and the changes they underwent from the earliest visual and textual evidence around 3000 BCE to the end of ancient Mesopotamian civilization in the Seleucid period. -
Desire, Discord, and Death : Approaches to Ancient Near Eastern Myth / by Neal Walls
DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH ASOR Books Volume 8 Victor Matthews, editor Billie Jean Collins ASOR Director of Publications DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH by Neal Walls American Schools of Oriental Research • Boston, MA DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH Copyright © 2001 American Schools of Oriental Research Cover art: Cylinder seal from Susa inscribed with the name of worshiper of Nergal. Photo courtesy of the Louvre Museum. Cover design by Monica McLeod. Library of Congress Cataloging-in-Publication Data Walls, Neal H., 1962- Desire, discord, and death : approaches to ancient Near Eastern myth / by Neal Walls. p. cm. -- (ASOR books ; v. 8) Includes bibliographical references and indexes. ISBN 0-89757-056-1 -- ISBN 0-89757-055-3 (pbk.) 1. Mythology--Middle East. 2. Middle East--Literatures--History and crticism. 3. Death in literature. 4. Desire in literature. I. Title. II. Series. BL1060 .W34 2001 291.1'3'09394--dc21 2001003236 Contents ABBREVIATIONS vii ACKNOWLEDGEMENTS viii INTRODUCTION Hidden Riches in Secret Places 1 METHODS AND APPROACHES 3 CHAPTER ONE The Allure of Gilgamesh: The Construction of Desire in the Gilgamesh Epic INTRODUCTION 9 The Construction of Desire: Queering Gilgamesh 11 THE EROTIC GILGAMESH 17 The Prostitute and the Primal Man: Inciting Desire 18 The Gaze of Ishtar: Denying Desire 34 Heroic Love: Requiting Desire 50 The Death of Desire 68 CONCLUSION 76 CHAPTER TWO On the Couch with Horus and Seth: A Freudian -
The Mesopotamian Netherworld Through the Archaeology of Grave Goods and Textual Sources in the Early Dynastic III Period to the Old Babylonian Period
UO[INOIGMUKJ[ 0LATE The Mesopotamian Netherworld through the Archaeology of Grave Goods and Textual Sources in the Early Dynastic III Period to the Old Babylonian Period A B N $EEP3HAFTOF"URIALIN&OREGROUNDWITH-UDBRICK"LOCKINGOF%NTRANCETO#HAMBERFOR"URIAL 3KELETON ANDO "URIAL 3KELETONNikki Zwitser Promoter: Prof. Dr. Katrien De Graef Co-promoter: Prof. Dr. Joachim Bretschneider Academic Year 2016-1017 Thesis submitted to obtain the degree of Master of Arts: Archaeology. Preface To the dark house, dwelling of Erkalla’s god, to the dark house which those who enter cannot leave, on the road where travelling is one-way only, to the house where those enter are deprived of light, where dust is their food, clay their bread. They see no light, they dwell in darkness. Many scholars who rely on literary texts depict the Mesopotamian netherworld as a bleak and dismal place. This dark portrayal does, indeed, find much support in the Mesopotamian literature. Indeed many texts describe the afterlife as exceptionally depressing. However, the archaeological study of grave goods may suggest that there were other ways of thinking about the netherworld. Furthermore, some scholars have neglected the archaeological data, while others have limited the possibilities of archaeological data by solely looking at royal burials. Mesopotamian beliefs concerning mortuary practices and the afterlife can be studied more thoroughly by including archaeological data regarding non-royal burials and textual sources. A comparison of the copious amount of archaeological and textual evidence should give us a further insight in the Mesopotamian beliefs of death and the netherworld. Therefore, for this study grave goods from non-royal burials, literature and administrative texts will be examined and compared to gain a better understanding of Mesopotamian ideas regarding death and the netherworld. -
The Epic of Gilgamesh
Semantikon.com presents An Old Babylonian Version of the Gilgamesh Epic On the Basis of Recently Discovered Texts By Morris Jastrow Jr., Ph.D., LL.D. Professor of Semitic Languages, University of Pennsylvania And Albert T. Clay, Ph.D., LL.D., Litt.D. Professor of Assyriology and Babylonian Literature, Yale University In Memory of William Max Müller (1863-1919) Whose life was devoted to Egyptological research which he greatly enriched by many contributions PREFATORY NOTE The Introduction, the Commentary to the two tablets, and the Appendix, are by Professor Jastrow, and for these he assumes the sole responsibility. The text of the Yale tablet is by Professor Clay. The transliteration and the translation of the two tablets represent the joint work of the two authors. In the transliteration of the two tablets, C. E. Keiser's "System of Accentuation for Sumero-Akkadian signs" (Yale Oriental Researches--VOL. IX, Appendix, New Haven, 1919) has been followed. INTRODUCTION. I. The Gilgamesh Epic is the most notable literary product of Babylonia as yet discovered in the mounds of Mesopotamia. It recounts the exploits and adventures of a favorite hero, and in its final form covers twelve tablets, each tablet consisting of six columns (three on the obverse and three on the reverse) of about 50 lines for each column, or a total of about 3600 lines. Of this total, however, barely more than one-half has been found among the remains of the great collection of cuneiform tablets gathered by King Ashurbanapal (668-626 B.C.) in his palace at Nineveh, and discovered by Layard in 1854 [1] in the course of his excavations of the mound Kouyunjik (opposite Mosul). -
A NEO-ASSYRIAN LITERARY TEXT Andrew R. GEORGE
A NEO-ASSYRIAN LITERARY TEXT Andrew R. GEORGE - London Many works of Standard Babylonian literature known from Neo-Assyrian copies include isolated Assyrianisms, but the number of literary texts which employ the Neo-Assyrian dialect is a small one. With the collection of these under a single cover scheduled for early publication by the Neo-Assyrian Text Corpus Project of the Univer sity of Helsinki, opportunity is taken to present an edition to the genre, an almost complete tablet from Ashurbanipal's libraries * . K. 1354 came to notice as a "list of temples" inBezold's Catalogue (p. 273, quoting 11.1-3 and 12-14), but while temples- and cities, too-feature prominently in the text, their enumeration is not for any topographical or lexical purpose. The listing of cities and temples, often in a set sequence, is a well-established and recurrent feature of Sumero-Babylonian liturgical literature. While not of the same tradition, the text preserved on K. 1354 also has the appearance of a cuI tic song. The text begins with a repeated formula which presents a long list of cult-centres and their temples (11. 1-17). Uruk is mentioned first, and then Babylon and Borsippa. These three cities are the subject of special attention, in that epithets mark them out as personal to the "voice" of the text ("my principal chamber, ... house of my pleasure, ... my ancestral home, etc."). But the repetition of Uruk, here and throughout the text, makes it clear that it is the Sumerian city which is the principal place of interest. -
He Who Saw Everything
HE WHO SAW EVERYTHING A verse version of the Epic of Gilgamesh by Robert Temple, Rider, an imprint of Random Century Group Ltda, 1991, London, Sydney, Auckland, Johannerburg. All rights reserved. Here included for help in research and studies purposes PROLOGUE He who saw everything in the broad-boned earth, and knew what was to be known Who had experienced what there was, and had become familiar with all things He, to whom wisdom clung like cloak, and who dwelt together with Existence in Harmony He knew the secret of things and laid them bare. And told of those times before the Flood In his city, Uruk, he made the walls, which formed a rampart stretching on And the temple called Eanna, which was the house of An, the Sky God And also of Inanna, Goddes of Love and Battle Look at it even now: where cornice runs on outer wall shining brilliant copper -see, There is no inner wall; it has no equal. Touch the threshold - ancient. Approach the palace called Eanna. There lives Inanna, Goddess of Love and Battle. No king since has accomplished such deeds. Climb that wall, go in Uruk, walk there, I say, walk there. See the foundation terrace, touch then the masonry - Is not this of burnt brick, And good? I say; The seven sages laid its foundation. One third is city; One third is orchards; One third is clay pits- Unbuilt-on land of the Inanna Temple search these three parts, find the copper table-box Open it. Open its secret fastening. Take out the lapis-lazuli tablet.