Story of Ereshkigal
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Asherah in the Hebrew Bible and Northwest Semitic Literature Author(S): John Day Source: Journal of Biblical Literature, Vol
Asherah in the Hebrew Bible and Northwest Semitic Literature Author(s): John Day Source: Journal of Biblical Literature, Vol. 105, No. 3 (Sep., 1986), pp. 385-408 Published by: The Society of Biblical Literature Stable URL: http://www.jstor.org/stable/3260509 . Accessed: 11/05/2013 22:44 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . 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]. The Society of Biblical Literature is collaborating with JSTOR to digitize, preserve and extend access to Journal of Biblical Literature. http://www.jstor.org This content downloaded from 143.207.2.50 on Sat, 11 May 2013 22:44:00 PM All use subject to JSTOR Terms and Conditions JBL 105/3 (1986) 385-408 ASHERAH IN THE HEBREW BIBLE AND NORTHWEST SEMITIC LITERATURE* JOHN DAY Lady Margaret Hall, Oxford University, England, OX2 6QA The late lamented Mitchell Dahood was noted for the use he made of the Ugaritic and other Northwest Semitic texts in the interpretation of the Hebrew Bible. Although many of his views are open to question, it is indisputable that the Ugaritic and other Northwest Semitic texts have revolutionized our understanding of the Bible. One matter in which this is certainly the case is the subject of this paper, Asherah.' Until the discovery of the Ugaritic texts in 1929 and subsequent years it was common for scholars to deny the very existence of the goddess Asherah, whether in or outside the Bible, and many of those who did accept her existence wrongly equated her with Astarte. -
1 Inanna Research Script
INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the -
Nabu 2015-2-Mep-Dc
ISSN 0989-5671 2015 N°2 (juin) NOTES BRÈVES 25) À propos d’ARET XII 344, des déesses dgú-ša-ra-tum et de la naissance du prince éblaïte* — Le texte administratif ARET XII 344 est malheureusement assez lacuneux, mais à notre avis quand même très intéressant. Les lignes du texte préservées sont les suivantes: r. I’:1’-5’: ‹x›[...] / šeš-[...] / in ⸢u₄⸣ / ḫúl / ⸢íl⸣-['à*-ag*-da*-mu*] v. II’:1’-11’: ...] K[ALAM.]KAL[AM(?)] / NI-šè-na-⸢a⸣ / ma-lik-tum / è / é / daš-dar / ap / íl-'à- ag-da-mu / i[n] / [...] / [...] r. III’:1’-9’: ⸢'à⸣-[...] / 1 gír mar-t[u] zú-aka / 1 buru₄-mušen 1 kù-sal / daš-dar / NAM-ra-luki / 1 zara₆-túg ú-ḫáb / 1 giš-šilig₅* 2 kù-sig₁₇ maš-maš-SÙ / 1 šíta zabar / dga-mi-iš r. IV’:1’-10’: ⸢x⸣[...] / 10 lá-3 an-dù[l] igi-DUB-SÙ šu-SÙ DU-SÙ kù:babbar / 10 lá-3 gú-a-tum zabar / dgú-ša-ra-tum / 5 kù-sig₁₇ / é / en / ni-zi-mu / 2 ma-na 55 kù-sig₁₇ / sikil r. V’:1’-6’: [x-]NE-[t]um / [x K]A-dù-gíd / [m]a-lik-tum / i[n-na-s]um / dga-mi-iš / 1 dib 2 giš- DU 2 ti-gi-na 2 geštu-lá 2 ba-ga-NE-su!(ZU) r. VI’:1’-6’: [...]⸢x⸣ / [m]a-[li]k-tum / [šu-ba₄-]ti / [x ki]n siki / [x-]li / [x-b]a-LUM. Tout d’abord, on remarquera qu’au début du texte on peut lire in ⸢u₄⸣ / ḫúl / ⸢íl⸣-['à*-ag*-da*- mu*], c’est-à-dire « dans le jour de la fête (en l’honneur) d’íl-'à-ag-da-mu ». -
The Relationship of Yahweh and El: a Study of Two Cults and Their Related Mythology
Wyatt, Nicolas (1976) The relationship of Yahweh and El: a study of two cults and their related mythology. PhD thesis. http://theses.gla.ac.uk/2160/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] .. ýýý,. The relationship of Yahweh and Ell. a study of two cults and their related mythology. Nicolas Wyatt ý; ý. A thesis submitted for the Degree of Doctor of Philosophy rin the " ®artänont of Ssbrwr and Semitic languages in the University of Glasgow. October 1976. ý ý . u.: ý. _, ý 1 I 'Preface .. tee.. This thesis is the result of work done in the Department of Hebrew and ': eraitia Langusgee, under the supervision of Professor John rdacdonald, during the period 1970-1976. No and part of It was done in collaboration, the views expressed are entirely my own. r. .e I should like to express my thanks to the followings Professor John Macdonald, for his assistance and encouragement; Dr. John Frye of the Univeritty`of the"Witwatersrandy who read parts of the thesis and offered comments and criticism; in and to my wife, whose task was hardest of all, that she typed the thesis, coping with the peculiarities of both my style and my handwriting. -
Enkidu (W by Attila Szervác)
Enkidu (w by Attila Szervác) physical theatre play A story of Enkidu, Abimelech & Peter chars: God, Gilgamesh, servant, Enkidu, Abraham, Sarah, Amibelech, Jesus, Peter, soldier, A, B, the injured youngster (about 15 to 16 years old (probably an adolescent son)) 1st scene Mesopotamia, Uruk Gilgamesh puts his rough commands with his stick. A servant appears, manually asking him not to handle such rough commands. [text] Gilgamesh slams the servant on his ear with his stick. God creates Enkidu. [text] Enkidu pleads for Gilgamesh not to deal with such rough commands. [text] Gilgamesh beats Enkidu on his ear, who is injured, then attacks Enkidu. Enkidu and Gilgamesh fight, but Gilgamesh can not defeat Enkidu. Gilgamesh throws himself to front of Enkidu, who is bleeding and asks to forgive him. [text] Enkidu forgives him and raises Gilgamesh. [text, Gilgamesh, brother, Lo your Bonevolent face, I forgive you; agapé] Enkidu and Gilgamesh upon Gamesh's request start off against dragon of Uruk. [text: Enkidu, my bro, please, help, as You see I worked my people for strength against the Dragon. Enkidu: Gilgamesh, my bro, shine your beautiful face to rid your people of the Dragon, I help You! 2nd scene Gerar Abraham and Sarah take off their married symbols and hide them, and they show themselves as couples dancing brothers with corresponding fraternal embraces. King Abimelech is astonished at Sarah's dance, and departs, and then his servant, with parchment and stick, instructs Sarah to immediately go to Abimelech's throne. She is dancing to Abimelech, who caresses her and pulls her hand in his unseen room. -
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. -
Understanding Gilgamesh: His World and His Story Aims Toward This Process of Communication
University of Pretoria etd – De Villiers, G (2005) UNDERSTANDING GILGAMESH: HIS WORLD AND HIS STORY by GEZINA GERTRUIDA DE VILLIERS submitted in partial fulfilment of the requirements for the degree DOCTOR LITTERARUM (SEMITIC LANGUAGES) in the FACULTY OF HUMANITIES at the University of Pretoria SUPERVISOR : PROF GTM PRINSLOO Pretoria October 2004 University of Pretoria etd – De Villiers, G (2005) CONTENTS Pag CHAPTER 1 : INTRODUCTION 1-1 1. Motivation for research 1-2 2. Research problem 1-4 3. Hypothesis 1-5 4. Purpose for research 1-5 5. Methodology 1-6 5.1. Source-orientated inquiry 1-6 5.2. Discourse-orientated analysis 1-7 5.2.1. Epic: poetry or prose? 1-7 6. Premises 1-9 7. Contents 1-12 CHAPTER 2 : THE STANDARD BABYLONIAN GILGAMESH EPIC 2-14 1. The narrative 2-15 CHAPTER 3 : THE SOURCE HISTORY OF THE EPIC OF GILGAMESH 3-38 1. The Sumerian past 3-38 1.1. General background 3-38 1.2. Cities 3-40 1.3. Animals 3-45 1.4. Kings 3-46 1.5. Theology 3-49 2. Sumerian literature: the five poems on Bilgames 3-56 2.1. Obscure origins: did the king really exist? 3-56 2.2. The poems 3-58 2.3. The function of the Sumerian poems 3-71 3. From frivolous frolic to academic achievement: entertainment to literature 3-72 University of Pretoria etd – De Villiers, G (2005) 3.1. Writing 3-72 3.2. From Sumerian to Akkadian 3-74 3.3. The Sumerian Renaissance 3-76 3.4. The end of Ur III and the Isin-Larsa period 3-79 3.5 Babylon 3-81 3.5.1. -
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. -
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 Goddess Ninlil in the Sumerian Pantheon: an Artificial Creation and Spouse to an Immigrating God?1
Therese Rodin, PhD candidate History of religions, Theological department, Uppsala University Email: [email protected] The goddess Ninlil in the Sumerian pantheon: 1 an artificial creation and spouse to an immigrating god? Abstract for the EASR conference 2013 The goddess Ninlil is one of the most prominent goddesses in the Sumerian pantheon, but at the same time the one perhaps least understood as a personage of her own. She is the wife of Enlil, the king of the pantheon, and she is primarily related to Enlil in the sources, either as a young woman whom Enlil courts, or as his wife. Ninlil has been understood as modeled upon the traits of Enlil, and even as being an artificial creation. This paper will show that Ninlil in fact had individual traits as a strong and powerful goddess, coming from a ‘matrifocal’ lineage, legitimizing kingship, and being depicted as a powerful queen. Further, Ninlil shows traits of assimilation with other goddesses. Her liaison with Enlil might be one incentive in these ‘mutations’, and it will be argued that this can be due to that Enlil was an immigrating god. Note on the author Therese Rodin is a Ph.D. student in the History of Religion at Uppsala University, and she also works as a lecturer in Religious Studies at Dalarna University. She has specialized in the cuneiform culture, and primarily Sumerian literary texts. Her thesis (to be defended within a few months) is an analysis of the two Sumerian myths where Ninhursaĝa/Ninmah, the mother goddess of the state pantheon, is one of the main actors. -
Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2008 A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Comparative Methodologies and Theories Commons, History of Religions of Eastern Origins Commons, Other Religion Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Craig, Leah Whitehead, "A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature" (2008). Honors College Capstone Experience/Thesis Projects. Paper 106. http://digitalcommons.wku.edu/stu_hon_theses/106 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Senior Honors Thesis Submitted to the Honors College of Western Kentucky University Spring, 2008 Approved by: _________________________________ _________________________________ -
Inanna Quiz ___1. Ninshubur Is: (A
Inanna Quiz _____ 1. Ninshubur is: (a) Inanna’s sister (b) Inanna’s beloved husband (c) Inanna’s faithful servant (d) queen of the gods 2. Which three deities is Ninshubur to ask for help? _________________ , ____________________, and _________________________ _____ 3. When Inanna goes to the underworld, why does she say she has come? (a) to the funeral rites of her brother in law (b) to receive secret knowledge (c) to mount a challenge to Ereshkigal’s power (d) to experience death so that she may understand what it is to be human _____ 4. Which is NOT an image Inanna calls up to evoke the effect of death? (a) becoming wood for the woodcutter (b) facing torment and mockery in the underworld (c) being shattered like stone by a stonecutter (d) being covered by dust _____ 5. Which of the following is NOT among the me: (a) the shugurra crown (b) a lapis necklace (c) a measuring rod and line (d) a cloak of darkness _____ 6.The god who knows the water of life and the secret of life is: (a) Enki (b) Inanna (c) Nanna (d) Ninshubur _____ 7. When Ereshkigal hears of Inanna’s appearance, she is: (a) happy to see her (b) resentful of the gods for trapping her in the underworld (c) angry enough to set a trap for Inanna (d) ready to beseech Enki to intercede on her own behalf _____ 8. In mourning for Inanna, Ninshubur does NOT: (a) beat a drum (c) walk around the houses of the gods (c) shave off her long black hair (d) dress like a beggar _____ 9.