Pazuzu's Blessing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Chapter X LAMASTU, DAUGHTER of ANU. a PROFILE
Chapter X LAMASTU, DAUGHTER OF ANU. A PROFILE F.A.M. Wiggermann Introduction and sources Outstanding among all supernatural evils defined by the ancient Mesopotamians is the child snatching demoness called Dimme in Sumerian, and Lamastu in Akkadian. I Whereas all other demons remain vague entities often operating in groups and hardly distinct from each other, DimmelLamastu has become a definite personality, with a mythology, an iconography, and a recognizable pattern of destructive action. The fear she obviously inspired gave rise to a varied set of counter measures, involving incantation rituals, herbs and stones, amulets, and the support of benevolent gods and spirits. These counter measures have left their traces in the archaeological record, the written and figurative sources from which a profile of the demoness can be reconstructed. Often the name of a demon or god gives a valuable clue to his (original) nature, but both Dimme and Lamastu have resisted interpretation. The reading of the Sumerian logogram dOiM(.ME) as Dim(m)e is indicated by graphemics: the ME wich is usually (but not always) added to the base doiM does not change the meaning, and must be a phonetic indicator. The presumed gloss' gab ask u (YOS 11 90:4, see Tonietti 1979:308) has been collated and reinterpreted (A. Cavigneaux, Z4 85 [1995] 170). The word may be identical with the Sumerian word for "corpse", "figurine", but this is far from certain, and does not clarify the behaviour of the demoness. Lamastu should be and could be a Semitic word, but the Akkadian lexicon does not offer a suitable root to derive it from. -
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. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
The Exorcist Script
HorrorLair - The Exorcist Script THE EXORCIST EXTERIOR- IRAQ- EXCATVATION SITE- NINEVEH- DAY Pickaxes and shovels weld into the air as hundreds of excavators tear at the desert. The camera pans around the area where hundreds of Iraqi workmen dig for ancient finds. The caption Northern Iraq appears at the bottom of the screen as the digging continues. The camera then follows a young boy running bare foot over the rocky mounds. He comes to a stop and the camera is positioned in between the boys legs looking at and aging man also digging. YOUNG BOY (In Iraqi language) They've found something... small pieces. MERRIN (In Iraqi language) Where? YOUNG BOY (In Iraqi language) At the base of the mound. The boy runs off and the old man pulls himself to his feet to follow. The old man walks to the base of the mound where another man who looks in command is there to greet him. MAN (In Iraqi language) Some interesting finds. Lamps, arrow-heads, coins... The old man picks up an old pendant and holds it up. MERRIN (In Iraqi language) This is strange! The man dusts the pendant and takes a look. MAN (In Iraqi language) Not of the same period. The old man reaches into a hole in the rock, moving and re- arranging small rocks to see what he can find. He grabs a pickaxe and scrapes out a small sculpted piece of rock crushed into another. The man takes a dust brush from the man's pocket and http://www.horrorlair.com/scripts/exorcist.html (1 of 80)6/15/2009 9:54:52 PM HorrorLair - The Exorcist Script brushes some dust from the sculpted rock. -
The Demon Pazuzu As Noise in the Exorcist Michael Brown
20 The Demon Pazuzu as Noise in The Exorcist Michael Brown The Demon Pazuzu as Noise in The Exorcist Against a blackened screen blood-red lettering announces the beginning of William Friedkin’s The Exorcist (1973). But it is not only what we see that unnerves us, it is what we hear. From the very first discordant strings’ sudden transition into the adhᾱn, the Muslim call to prayer, the film creates an atmosphere of uncertainty through its innovative sound design. While sound and horror share a long- established history in the production of cinematic dread, sound in The Exorcist does more than simply prompt an emotive response or mood in audiences. Rather, by listening closely to the sonic elements of the often critically unappreciated Iraq prologue, I will demonstrate that the central evil of the narrative, the demon Pazuzu, is in fact best understood as ‘noise’. By reflecting on media theory’s concept of noise as one with affective, ontological and philosophical concerns this essay will argue for a renewed critical approach to the film, one which recognises the demon’s aural association with wind, shrieking voices, garbled language and insect drone as intimately bound to its function as a disruptive and destabilising agency. Accordingly, the possessed body of the film’s adolescent protagonist Regan MacNeil’s (Linda Blair) is aurally and visually constructed as a medium, albeit one that is immersed in noise. I will argue that a sounds studies perspective is useful in identifying a more diffuse kind of horror in The Exorcist beyond its more obvious religious anxieties and visceral special effects, one that, like the presence of noise, disturbs our ability to make sense of the world as something essentially knowable and hence, meaningful. -
Arcanorum Alchymiae – the Secrets of Alchemy and a Primer on the Histories of Man, Their Ways, and Customs As Recorded by Hermaeus Trismegistus
Arcanorum Alchymiae – The Secrets of Alchemy And a primer on the histories of Man, their ways, and customs As recorded by Hermaeus Trismegistus I Είναι αλήθεια, χωρίς σφάλματα, ορισμένα πιο, II Αυτό που είναι κάτω είναι όπως αυτό που είναι πάνω, και τι είναι πάνω είναι σαν αυτό που είναι κάτω, για να ολοκληρώσει τα θαύματα του ένα μόνο πράγμα. III Και ξέρουν ότι όλα τα πράγματα έχουν προκύψει από μία από τη μεσολάβηση ενός: έτσι όλα τα πράγματα έχουν τη γέννησή τους από αυτό το ένα πράγμα με προσαρμογή. IV Ο πατέρας είναι το ήλιο. Η μητέρα είναι η Σελήνη, ο άνεμος μετέφερε στην κοιλιά της, η νοσοκόμα είναι η γη. V Ο πατέρας όλης της τελειότητας, ή ολοκλήρωση όλου του κόσμου είναι εδώ. VI δύναμη ή η ισχύς είναι ολόκληρο το αν πρέπει να μετατραπούν σε γη. VII θελεις διαχωρίσει τη γη από τη φωτιά, το λεπτό από το ακαθάριστο, suavely, και με μεγάλη εφευρετικότητα. VIII θα διώξετε όλα τα σκιές. IXΑυτή είναι όλη η δύναμη της ισχυρής δύναμης, για να συντρίβει κάθε λεπτό πράγμα και να διεισδύσουν σε κάθε στερεό πράγμα. X Έτσι, ο κόσμος δημιουργήθηκε. XI προχωρήσει εκ τούτου θαύματα, η οποία είναι εδώ. Ως εκ τούτου είμαι εγώ που ονομάζεται Τρεις φορές Μεγάλη, με τα τρία μέρη της φιλοσοφίας του όλου του κόσμου. XII Ό, τι έχω πει για τη λειτουργία του ήλιου. I Tis true without lying, certain & most true. II That which is below is like that which is above & that which is above is like that which is below to do the miracles of one only thing III And as all things have been & arose from one by the mediation of one: so all things have their birth from this one thing by adaptation. -
Women and Household Shrines in Ancient Israel
Women and household shrines in ancient Israel Item Type text; Dissertation-Reproduction (electronic) Authors Willett, Elizabeth Ann Remington Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 20:20:33 Link to Item http://hdl.handle.net/10150/288986 DWORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, \^e others may be fit}m ai^ type of computer printer. The quality of this reprodactioii is dependent apon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and impropo- alignment can adversely affect rq)roduction. In the unlikely event that the author did not send UMI a complete manuscript and there are misang pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Index of Passages Cited
Cambridge University Press 978-1-108-48178-6 — Achilles beside Gilgamesh Michael Clarke Index More Information Index of Passages Cited Adapa and the South Wind Odes 13.111–12: 198 fr. A 2–4: 107 Beowulf fr. B 83: 107 2802 ff.: 10 fr. D 5: 107 Aeschylus Death of Gilgamesh Agamemnon 176–178: 212 M1–6: 57 Agamemnon 445–451: 203 M72–7: 101 Agamemnon 600–602: 202 M76–9: 49 Carians/Europa fr. 100: 149 M 120–3: 50 Myrmidons fr. 136: 216 M 166–9: 49 Persians 818–822: 197 M 298–304: 50 Ransoming of Hector fr. 266: 294 N1v13–15: 49 Suppliants 1: 170 Dumuzid’s Dream Suppliants 26: 170 1 ff.: 92 Suppliants 86–103: 170 Xantriai fr. 169: 283 Elegy on the Death of a Woman (Livingstone fr. 350.1–9: 180 1989) Alcaeus r 4: 105 fr. 44.8: 125, 198 Enmerkar and Ensuhgirana fr. 359: 241 29–32, 60–3: 43 Apollodorus Enuma Elish Epitome 3.1.2: 157 I 45: 79 Library 3.6.8: 189 I48–50: 161 Archilochus Epic Cycle fr. 196a.39–41: 25 Cypria fr. 1: 160, 174 Aristotle Cypria fr. 1.7: 166, 200 Eudemian Ethics 1233b22-6: 164 Cypria fr. 10.1–11: 163 Politics 1253a28-9: 267 Cypria fr. 19: 181 Posterior Analytics 97b 16–25: 311 Little Iliad fr. 2: 309 Rhetoric 1837a9: 164 Thebaid fr. 9: 189 Assyrian and Babylonian letters (Parpola 1993) Epic of Gilgamesh p. 288, no. 352: 83 MB Bog 1 fr. (f): 78 Atrahasis MB Ug 1 12–13: 65 LBV VI 6’–13’:30 MB Ug 2 13’:68 OBV I11–16: 28 OB II 154–63: 65 OBV I 174–197: 51 OB II 194: 84 OBV I 353–359: 52 OB III 140–1: 69 OBV III iv 6–11: 53 OB III 148: 5, 262 OBV III v 35: 53 OB III 184–8: 68 OBV III vi 2–3: 53 OB IM 28: 72 OBV III vii 4–5: 53 -
Roberto Cuoghi Selected Press Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié
Roberto Cuoghi Galerie Selected Press Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. Roberto Cuoghi à l’oeuvre.», L’Officiel Art, n°17, March-April- May 2016, pp.136-143. Galerie Chantal Crousel Seungduk Kim. «Art génétiquement modifié. -
Horror Soundtracks and the Unseen Demonic the Exorcist (1973)
RENDER | THE CARLETON GRADUATE JOURNAL OF ART AND CULTURE VOLUME ONE Horror Soundtracks and the Unseen Demonic The Exorcist (1973) By: Pamela Morrow, MA Music and Culture One of the key roles music plays in pitches directly affect the human body; the accompanying film is to enhance the emotional higher pitches resonate within the upper body of reactions of the audience. Each film genre uses the audio-viewer, whereas the lower pitches music in different ways depending on the mood result in the vibration of the stomach and lower that is presented by the dialogue and abdomen. Donnelly suggests that these musical corresponding images. Horror music rarely sounds are “tied to the intrinsic sounds of the follows the traditional symphonic leitmotif human body (such as) the high buzz of the structure of classical film scores.1 Essentially, the nervous system and the deep throb of the music that is used throughout horror films does 4 bloodstream and heart.” not generally consist of memorable melodies or Classic horror films of the 1960-80’s era, leitmotifs that are associated with specific such as Psycho (1968), The Exorcist (1973), A characters. The role of this music is primarily to Nightmare on Elm Street (1984), The Shining create psychological experiences for the viewers. (1980) and Halloween (1978) predominantly As a replacement for the leitmotifs and melodies, relied upon exaggerated pitches and stingers to a manipulation of the timbres and range ensure their audiences experienced unsettling associated with the instruments and sounds perceptual, emotional and physiological often creates unsettling sounds that cause responses during the films. -
Hie Thee to Hell: the Place of the Bad Daimon
CHAPTER 4 Hie Thee to Hell: The Place of the Bad Daimon Hie thee to hell for shame, and leave this world, Thou cacodemon: there thy kingdom is Shakespeare, Richard III, 1.3.143–144 In the ancient world, alas, if not the modern, bad daimons are as pervasive as good daimons. In Chapters Two and Three, we saw the activities of good daimons in the syncretic milieu of Ptolemaic and Roman Egypt as well as in the astrology of those periods. This chapter will first examine the bad daimon’s place within a number of Mediterranean cultures, including Mesopotamian, Egyptian, Greek, Jewish and Christian. We then explore how astrologers viewed bad daimons, and their literal places in the practice of Hellenistic astrology. In this chapter, I use the word ‘demon’ to denote purely bad daimons, aligning with the present-day English connotation. 1 A Brief History of Bad Daimons 1.1 Mesopotamian Demons Mesopotamia is one of the oldest civilisations to have a flourishing demonology.1 The ubiquity and number of Mesopotamian daimons must be emphasised. Evil daimons, known in Akkadian as utukkē lemnūti, first appear in Sumerian texts.2 Tiamat creates hordes of demons in the great creation myth, Enuma Eliš: 1 An excellent survey of Mesopotamian daimons is M. Leibovici, ‘Génies et démons en Babylonie’; for bad daimons, see H. Limet, ‘Les démons méchants de la Babylonie’, in Anges et démons: Actes du colloque de Liège et de Louvain-la-Neuve, 25–26 novembre 1987, ed. Julien Ries and Henri Limet, Homo religiosus (Louvain-la-Neuve: Centre d’histoire des religions, 1989), 21–35; also see Thompson, Devils and Evil Spirits of Babylonia, vol. -
D&D Monster Inspiration Guide
© Wizards of the Coast LLC D&D Monster Inspiration Guide A17932, on display in the Edgar and Deborah Jannotta Mesopotamian Gallery Tiamat may be considered an ingenious evil dragon goddess in Dungeons & Dragons, but her behavior in the Babylonian Myth of Creation (Enuma Elish) suggests that she did not always make the best choices. A pair of primordial gods, Tiamat and Apsu were the only entities in existence initially. Tiamat personified salt waters and Apsu fresh waters; they came together and produced the younger gods. These gods disturbed Apsu, so he planned to eradicate them, leading the younger god Ea to slay Apsu. Tiamat therefore decided to avenge herself on the younger gods and created eleven monsters and appointed her new consort, the god Qingu, to command them. Marduk defeated the monsters, Tiamat’s consort Qingu, and Tiamat herself, and used her body to create the world. In mythology she is depicted as a dragon, but not the five- headed dragon of D&D fame. © Wizards of the Coast LLC A25413, on display in the Dr. Norman Solhkhah Family Assyrian Empire Gallery We already looked at Pazuzu last week, but here’s a quick recap for those who may have missed it! Although a demon, Pazuzu was invoked to protect women and children against the demon Lamashtu (in D&D she is Pazuzu’s enemy and former consort). Therefore, it seems rather unfair for Dungeons & Dragons to attribute him with a chaotic evil alignment. This depiction may be influenced by Pazuzu’s star turn in the film The Exorcist, where he is also incorrectly depicted as an evil demon that possesses a young girl.