Sibel Özbudun
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cuneiform Monographs
VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page ii Cuneiform Monographs Editors t. abusch ‒ m.j. geller s.m. maul ‒ f.a.m. wiggerman VOLUME 35 frontispiece 4/26/06 8:09 PM Page ii Stip (Dr. H. L. J. Vanstiphout) VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page iii Approaches to Sumerian Literature Studies in Honour of Stip (H. L. J. Vanstiphout) Edited by Piotr Michalowski and Niek Veldhuis BRILL LEIDEN • BOSTON 2006 VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page iv This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data is available on http: // catalog.loc.gov ISSN 0929-0052 ISBN-10 90 04 15325 X ISBN-13 978 90 04 15325 7 © Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill Academic Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page v CONTENTS Piotr Michalowski and Niek Veldhuis H. L. J. Vanstiphout: An Appreciation .............................. 1 Publications of H. -
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of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. -
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. -
Lambert Walcot Kadmos 4 Dunnu
WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 KADMOS ZEITSCHRIFT FOR VOR- UND FRÜHGRIECHISCIIE EPIGRAPHIK IN VERBINDUNG MIT: EMMETT L. BENNETT-MADISON • WILLIAM C. BRICE-MANCHESTER PORPHYRIOS DIKAIOS-WALTHAM • KONSTANTINOS D. KTISTOPOULOS ATHENN. OLIVIER MASSON-PARIS • PIERO MERIGGI-PAVIA • FRITZ SCHACHE RMEYR-WIEN - JOHANNES SUNDWALL-HELSINGFORS HERAUSGEGEBEN VON ERNST GRUMACH BAND IV / HEFT 1 WA LTER DE G R U Y T E R & CO. / BERLIN LUNG - J. G. VERLAG 1TAhCOMP. ~ U CHHANDLUUNG -EORGG REIMER SK IKARL J.TRUBNER TTVE 1965 WILFRED G. LAMBERT and PETER WALCOT1 A NEW BABYLONIAN THEOGONY AND HESIOD A volume of cuneiform texts just published by the British Museum2 contains a short theogony, which is of interest to Classical scholars since it is closer to Hesiod's opening list of gods than any other cuneiform material of this category. -
Sr No. Village Name Consumer Name VSQ- 4466 (Village Wise Consumer Report)
VSQ- 4466 (Village wise Consumer Report) - PMUY Sr No. Village Name Consumer Name 1 ABHAYGARH KANAKU DEVI 2 ABHAYGARH RATAN KANWAR 3 ABHAYGARH BHANWAR KANWAR 4 ABHAYGARH BHAWANI KANWAR 5 ABHYGARH BHIKHU KANWAR 6 ABHYGARH BHANVRI KANWAR 7 ACHALAWATA SUNDARI DEVI 8 ACHALAWATA SHOBHA DEVI 9 ACHALAWATA DAKHU DEVI 10 ACHALAWATA MRS SAMUDRA 11 ACHALAWATA ANOPI DEVI 12 ACHALAWATA MRS GUDDI 13 ACHALAWATA KAMLA DEVI 14 ACHALAWATAN MOOLI DEVI 15 ACHALAWATAN PAPPU DEVI 16 ACHALAWATAN MRS BHANVARI 17 ACHALAWATAN MRS PUSHPA 18 AGOLAI HIRO DEVI 19 AGOLAI KAMALA KANWAR 20 AGOLAI HAVA KANWAR 21 AGOLAI LALITA 22 AGOLAI KANCHAN KANWAR 23 AGOLAI RASAL KANWAR 24 AGOLAI RUKAMO KANWAR 25 AGOLAI guddi kanwar 26 AGOLAI RAJO DEVI 27 AJABASAR MS. KAMLA KANWAR 28 AJBAR MS. BABLU KANVAR 29 AJEET GARH DHAPU DEVI 30 AJEET NAGAR KANWARU KANWAR 31 AJEET NAGAR GUDIYA CHOUDHARY 32 AJEET NAGAR SANTU DEVI 33 AJEET NAGAR GAVARI DEVI 34 AJEET NAGAR DHAI DEVI 35 AJEET NAGAR SHANTU DEVI 36 AJEET NAGAR KAMLA . 37 AJEET NAGAR PUSHPA . 38 AJEETGARH VEER KANWAR 39 AJEETGARH REKHA KANWAR 40 AJEETGARH ANACHI DEVI 41 AJEETGARH RUKHAMO DEVI 42 AJEETGARH MRS BABITA 43 AJEETGARH ANTAR KOR 44 AJEETGARH PUSHPA KANWAR 45 AJEETGARH PAPU KANWAR 46 AJEETGARH TARO KANWAR 47 AJEETGARH KANWARU KANWAR 48 AJEETGARH RASAL KANWAR 49 AJEETGARH MEERA DEVI 50 AJEETGARH SAYAR KANWAR 51 AJEETGARH BADAL KANWAR 52 AJEETGARH SHANTI KANWAR 53 AJEETGARH LALITA CHOUDHARY Sr No. Village Name Consumer Name 54 AJEETGARH PEP KANWAR 55 AJEETGARH RASAL KANWAR 56 AJEETGARH JASU KANWAR 57 AJEETGARH LILA KANWAR 58 AJEETGARH KHAMMA DEVI 59 AJIT GADH SUGAN KANWAR 60 AJITGARH CHIMU DEVI 61 AJITGARH KANWARU KANWAR 62 AJJETGADH SOHNI DEVI 63 AKADEEYAWALA MAGEJ KANWAR 64 ALIDAS NAGAR PAPPU KANWAR 65 ALIDAS NAGAR PARVATI DEVI 66 ALIDAS NAGAR NAINU KANWAR 67 ALIDAS NAGAR MOHANI DEVI 68 ALIDAS NAGAR PISTA DEVI 69 ALIDAS NAGAR PRAKASH KANWAR 70 ALIDAS NAGAR NAKHTU DEVI 71 ALIDAS NAGAR DHAPU . -
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. -
The Mesopotamians Hungered for What? Literature, Material Culture, and Other Histories
Recebido: December 28, 2017│ Accepted: January 12, 2018 THE MESOPOTAMIANS HUNGERED FOR WHAT? LITERATURE, MATERIAL CULTURE, AND OTHER HISTORIES Kátia Maria Paim Pozzer1 Abstract The analyzes of the symbolic meaning of food, the culinary habits and the behavior at the table were stimulated by the New Cultural History and favored the studies on the relations between food, culture and social structure. Thus, in this article we intend to discuss the Mesopotamian banquet, its sacred roots, the myths of food creation, the material culture and the rich iconography on the subject. Keywords Mesopotamia; food; material culture; literature. Resumo As análises sobre a significação simbólica dos alimentos, os hábitos culinários e o comportamento à mesa foram impulsionadas pela Nova História Cultural e favoreceram os estudos sobre as relações entre alimentação, cultura e estrutura social. Assim, neste artigo pretendemos discutir o banquete mesopotâmico, suas raízes sagradas, os mitos de criação dos alimentos, a cultura material e a rica iconografia existente sobre o tema. Palavras-chave Mesopotâmia; alimentação; cultura material; literatura. 1 Assistant Professor, Federal University of Rio Grande do Sul, Porto Alegre, Brazil. E- mail: [email protected] Heródoto, Unifesp, Guarulhos, v. 2, n. 2, Dezembro, 2017. p. 153-167 - 153 - Participate in an academic homage to Prof. Pedro Paulo de Abreu Funari is a privilege because it means that at some point in my professional life I met Pedro Paulo (as he is affectionately called) and I was able to share his wisdom and generosity. Undoubtedly, Prof. Funari is one of the Brazilian exponents of History and Archeology, with greater insertion and international recognition. -
The Appearance of Bricks in Ancient Mesopotamia
Athens Journal of History - Volume 6, Issue 1, January 2020 – Pages 73-96 The Appearance of Bricks in Ancient Mesopotamia By Kadim Hasson Hnaihen Mesopotamia is a region in the Middle East, situated in a basin between two big rivers- the Tigris and the Euphrates. About 5,500 years ago, much earlier than in Egypt, ancient civilization began, one of the oldest in the world. Continuous development was an important factor of everyday life. A warm climate, fertile soil, mixed with the sediment of flowing rivers and perhaps even the first oak all. A deficit of stone for building shelter was an impediment that the Sumerians faced, but from this shortage they found the perfect solution for their construction-brick. Shelter, homes and other buildings were built from material available in the area, such as clay, cane, soil, mule. Sumerians mastered the art of civic construction perfectly. They raised great buildings, made of bricks (Ziggurats, temples, and palaces) richly decorated with sculptures and mosaics. In this article I will focus on the most interesting time period in my opinion- when brick appeared, I will comment upon the process of production and the types of the brick used in Mesopotamia. It should be noted that the form we know today has been shaped by the cultural and social influences of many peoples who have successively settled these lands, continuing to a large extent the cultural heritage of the former. Introduction The ancient population of Iraq (from the Stone Age, 150,000 BC to 8,000 BC) inhabiting Mesopotamia is one of the oldest civilizations to be discovered. -
ANE Deities Compared Genesis 1-11 the Babylonians and Akkadians Adopted the Sumerian Pantheon with Little Changes
ANE Deities Compared Genesis 1-11 The Babylonians and Akkadians adopted the Sumerian pantheon with little changes. Gods were often renamed but their role and status in the pantheon generally remained the same. The dominance of Babylon, however, also led to the ascendancy of the god of Babylon: Marduk assumed power over An, Enlil, and Enki. Sumerian Aspect of Deity Babylonian/Akkadian An God of the heavens Anu Enlil God of the earth and air Enlil / Ellil Enki God of water; Ea god of wisdom and magic Ninhursag (Nimmah, Nintu, Ki) Mother-goddess Aruru Nanna-Sin Moon god Sin Utu Sun God; Shamash god of justice Ereshkigal Goddess of the underworld Nergal Ishkur Storm god Marduk (Adad, Ashur, Bel) Abzu Primordial sweet-water ocean Apsu (Enki’s abode) Nanshe The salt-water ocean Tiamat1 Dumuzi God of vegetation; god of the Tammuz underworld; shepherd god Inanna Fertility goddess; Ishtar goddess of love and war Ashnan God of grain Dagan Nidaba, Nisaba God of scribes, literacy, Nabu and wisdom Anunnaki2 Lesser gods, workers Anunnaki, Igigi2 Blue = the supreme gods (highest of the seven primary gods) Red = additional members of the seven primary gods Green = other important gods 1 Enuma Elish tells the story of Marduk’s victory over the sea monster Tiamat. 2 Anunnaki and Igigi are both collective terms for a group of otherwise nameless gods. It is uncertain whether or not they stand for the same group of gods. The Anunnaki seem to hold a higher position. Chart inspired by G. Herbert Livingston, The Pentateuch and Its Cultural Environment (pp. -
MÝTY STARÉ MEZOPOTÁMIE Sumerská, Akkadská a Chetitská Literatura Na Klínopisných Tabulkách
MÝTY STARÉ MEZOPOTÁMIE Sumerská, akkadská a chetitská literatura na klínopisných tabulkách Přeložili Blahoslav Hruška (BH), Lubor Matouš (LM), Jiří Prosecký (JP) a Jana Součková (JS) SVĚT STAROVĚKÝCH MEZOPOTAMCŮ (LM) SUMERSKÉ MÝTY PROKLETÍ AKKADU (BH) INANNA A EBECH (BH) NÁŘEK NAD ZKÁZOU MĚSTA URU (LM) SESTUP INANNY DO PODSVĚTÍ (JP) DUMUZIHO SEN (BH) STROM CHULUPPU (LM) ENKI A NINCHURSAG (BH) ENKI A NINMACH (BH) ENLIL A NINLIL (BH) ENKI A ŘÁD SVĚTA (BH) INANNA A ENKI (BH) ZÚRODNĚNÍ SUMERU (BH) ZPĚV O MOTYCE (BH) OVCE A OBILÍ (BH) STVOŘENÍ ČLOVĚKA (BH) AKKADSKÉ MÝTY ATRACHASÍS (JP) ENÚMA ELIŠ (JP) MARDUK STVOŘITEL (BH) DVĚ ZAKLÍNÁNÍ (JP) PROTI BOLAVÉMU ZUBU PROTI JEČNÉMU ZRNU SESTUP IŠTARY DO PODSVĚTÍ (JP) ETANA (JS) ADAPA A JIŽNÍ VÍTR (JP) ANZU A KRÁDEŽ TABULEK OSUDU (BH) NERGAL A EREŠKIGAL (LM) BŮH VÁLKY ERRA (BH) CHETITSKÉ MÝTY CHETITSKÁ LITERATURA (JS) BOJ BOHA BOUŘE S DRAKEM (JS) ZMIZELÝ BŮH (JS) APPU A JEHO DVA SYNOVÉ (JS) CYKLUS O KUMARBIM (JS) VLÁDCI NEBES CHEDAMMU ZPĚV ULLIKUMMIM HYMNUS NA SLUNCE (JS) PŘÍLOHY VÝKLADOVÝ SLOVNÍČEK JMEN POUŽITÁ LITERATURA SEZNAM VYOBRAZENÍ SUMERSKÉ MÝTY PROKLETÍ AKKADU Když hněvivý Enlilův pohled lid Kiše jak býka nebeského zabil 1 a dům urucký jak mohutný tur srazil, že v prachu leží, tehdy, když Enlil Sargonovi, akkadskému králi, 5 kněžství a vládu od země horní k dolní předal, tehdy Inanna čistá svatyni Akkadu jako svůj velký ženský palác postavila, v Ulmaši zřídila trůn. Jak mladík, který dům svůj staví, 10 jak slabá dívka budující příbytek žen: aby ve skladištích všechno bylo, aby město stálo na pevném místě, aby lid v něm pokrmy vzácné jedl a vodu vzácnou pil, 15 aby lidé vykoupaní dvůr naplnili radostí, místa slavností krásně ozdobili, aby obyvatelé města spolu jedli, aby se ve městě procházeli i cizinci tak jako ptáci cizí, co ve vzduchu krouží, 20 aby lidé z Marchaši přiváděli divoká zvířata a s nimi i slony, zvěř vzdálených míst, jež by se na náměstích mísila s čistokrevnými psy, s šelmami, s osly z hor a s ovcemi s dlouhou vlnou – nemohla Inanna starostí spát.