Cosmological Beliefs of Galacian Farmers Exploring the Mythology Of
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Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods
Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods Shawn C. Knight Spring 2009 (This document last revised March 18, 2009) 1 The nature of Egyptian religion (intro) The Egyptian idea of \deity" is a difficult one to pin down. The most frequently used word for deity, ' 4 ntr (or nTr), resembles the English word god in that it can be used as either a common noun, referring to one of numerous divine beings, or as a proper noun, referring to the Supreme Being. Much more problematic than the word used, however, are the details of what the gods do and even who they are. Gods become conflated with one another; most notably, there are (at least) two gods named Horus, designated \Elder" and \Younger", and they share a number of traits, often being confused (deliberately or mistakenly). The gods usurp one another's roles, or delegate their roles to others, with astounding frequency. It is Set's role to protect the sun god from the serpent of chaos|except when Horus has that function. The Supreme Being is Re-Atum, except when he is Amun-Re, except when he is simply Re or simply Atum or . Adding still further to the complication is the local character of Egyptian religion. Every nome had a patron god, and while some of the gods patronized more than one nome, there was plenty of variety. We have already considered this to some degree: we have noted Thebes, for example, as having Amun for a patron, and observed that the military rise of the Thebans in the Middle and New Kingdoms were responsible for the enrichment and empowerment of Amun's cult. -
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. -
Chastity and Phallic Worship
CHASTITY AND PHALLIC WORSHIP. BY THE EDITOR. CHASTITY is regarded as the virtue of virtues, and rightly so, for the future of mankind depends on it. Chastity is the characteristic feature that distinguishes the Teutonic peoples, and to it Tacitus does not hesitate to attribute the native vigor of the race. While there was so little prudery among the inhabitants of ancient Germany that the two sexes enjoyed bathing together in the river, actions of indecency were severely punished and early marriage was held in contempt. Tacitus wrote his book on Germany with the avowed purpose of giving his countrymen a warning, and setting them an example in the undefiled Northern races; and his words sound to the his- torian like a prophecy ; for the sturdy sons of this chastest of all the nations have overrun the earth. Had they not been fighting too much among themselves, had they not been exterminated in many of their too easily acquired new homes by the lack of both concentrated effort and political foresight, the old world would be by this time predominantly Germanic. But even as matters stand now, the Goths having lost again all the territories in Southern and Western Europe, especially Italy and Spain, and also Africa, the Teutons are practically still in possession of the world. Central Europe, i. e., Germany, Austria, Holland, Denmark, Sweden, and Norway, further England with its colonies, and North America are predominantly of Teutonic blood, and they hold in their hands the balance of power. What is the rest of the world— all the Romance nations, the Slavic nations, and the Orientals— in comparison to their united strength? On a close scrutiny of their rise to power we need not hesitate to say that their success is due to their family life, the relative purity of their morality, the mental and physical health resulting therefrom ; in a word, to chastity. -
The Art and Artifacts Associated with the Cult of Dionysus
Alana Koontz The Art and Artifacts Associated with the Cult of Dionysus Alana Koontz is a student at University of Wisconsin-Milwaukee graduating with a degree in Art History and a certificate in Ancient Mediterranean Studies. The main focus of her studies has been ancient art, with specific attention to ancient architecture, statuary, and erotic symbolism in ancient art. Through various internships, volunteering and presentations, Alana has deepened her understanding of the art world, and hopes to do so more in the future. Alana hopes to continue to grad school and earn her Master’s Degree in Art History and Museum Studies, and eventually earn her PhD. Her goal is to work in a large museum as a curator of the ancient collections. Alana would like to thank the Religious Studies Student Organization for this fantastic experience, and appreciates them for letting her participate. Dionysus was the god of wine, art, vegetation and also widely worshipped as a fertility god. The cult of Dionysus worshipped him fondly with cultural festivities, wine-induced ritualistic dances, 1 intense and violent orgies, and secretive various depictions of drunken revelry. 2 He embodies the intoxicating portion of nature. Dionysus, in myth, was the last god to be accepted at Mt Olympus, and was known for having a mortal mother. He spent his adulthood teaching the cultivation of grapes, and wine-making. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. Later in history, worshippers would perform their rituals in the cover of darkness, limiting the cult-practitioners to women, and were surrounded by myth that is sometimes interpreted as fact. -
A Unique Representation of Hypospadias in Ancient Greek Art
URO-histORy A unique representation of hypospadias in ancient Greek art Konstantinos Laios, PhD; Marianna Karamanou, MD, MSc; George Androutsos, MD, PhD History of Medicine Department, Medical School, University of Athens, Greece Cite as: Can Urol Assoc J 2012;6(1):e1-2. http://dx.doi.org/10.5489/cuaj.11155 Williams considered that this phallus was in reality a vase, which could be filled up with two other fragments. ypospadias, a congenital defect in the develop- He compared it with perfume vases in the shape of male ment of the penis and urethra, was well-described genitalia known from eastern Greece and Attica. He noted Hin ancient Greek medical literature. that Athenian potters in late 6th and early 5th century BC Aristotle, in 4th century BC, was the first to describe it. He were forming male genitals as a foot in cups. About its use, pointed out the false impression that boys have of male and he believed that it was a special drinking vessel dedicated female genitalia due to the fact they urinate seated: “there to Aphrodite and used in religious ceremonies.5 have been instances of boys in whom the termination of the On the surface of this 14.6 cm phallus, we observe a penis has not coincided with the passage through which variety of decorations, such as an eye on the glans, a broken the residue from the bladder passes out, so that the passage meander, red tongues alternating with white ones and the came too low; and on this account they sit in order to pass posterior part of a goat’s leg seen in the lower left. -
Domestic Religious Practices
UCLA UCLA Encyclopedia of Egyptology Title Domestic religious practices Permalink https://escholarship.org/uc/item/7s07628w Journal UCLA Encyclopedia of Egyptology, 1(1) Author Stevens, Anna Publication Date 2009-12-21 Peer reviewed eScholarship.org Powered by the California Digital Library University of California DOMESTIC RELIGIOUS PRACTICES الممارسات الدينية المنزلية Anna Stevens EDITORS WILLEKE WENDRICH Editor-in-Chief University of California, Los Angeles JACCO DIELEMAN Editor Area Editor Religion University of California, Los Angeles ELIZABETH FROOD Editor University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Stevens 2009, Domestic Religious Practices. UEE. Full Citation: Stevens, Anna, 2009, Domestic Religious Practices. In Willeke Wendrich and Jacco Dieleman (eds.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf63v 1010 Version 1, December 2009 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf63v DOMESTIC RELIGIOUS PRACTICES الممارسات الدينية المنزلية Anna Stevens Religion im Alltag Pratiques religieuses privées Domestic religious practices—that is, religious conduct within a household setting—provided an outlet especially for expressing and addressing the concerns of everyday life. They can be traced throughout Egyptian dynastic history, in textual sources such as spells of healing and protection, offering and dedicatory texts, and private letters, and in cult emplacements and objects from settlement sites. Protective divinities such as Bes, Taweret, and Hathor were favored, along with ancestors who could be deceased kin, local elite, or royalty. State-level deities were also supplicated. Central practices were offering and libation, and conducting rites of protection and healing, while there was also strong recourse to protective imagery. -
THE DIONYSIAN PARADE and the POETICS of PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO
UCL DEPARTMENT OF GREEK AND LATIN HOUSMAN LECTURE UCL Housman Lecture THE DIONYSIAN PARADE AND THE POETICS OF PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO A.E. Housman (1859–1936) Born in Worcestershire in 1859, Alfred Edward Housman was a gifted classical scholar and poet. After studying in Oxford, Housman worked for ten years as a clerk, while publishing and writing scholarly articles on Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he returned to the academic world as Professor of Classics at University College London (1892–1911) and then as Kennedy Professor of Latin at Trinity College, Cambridge (1911–1936). Housman Lectures at UCL The Department of Greek and Latin at University College London organizes regular Housman Lectures, named after its illustrious former colleague (with support from UCL Alumni). Housman Lectures, delivered by a scholar of international distinction, originally took place every second year and now happen every year, alternating between Greek and Roman topics (Greek lectures being funded by the A.G. Leventis Foundation). The fifth Housman lecture, which was given by Professor Eric Csapo (Professor of Classics, University of Sydney) on 20 February 2013, is here reproduced with minor adjustments. This lecture and its publication were generously supported by the A.G. Leventis Foundation. 2 HOUSMAN LECTURE The Dionysian Parade and the Poetics of Plenitude Scholarship has treated our two greatest Athenian festivals very differently.1 The literature on the procession of the Panathenaea is vast. The literature on the Parade (pompe) of the Great Dionysia is miniscule. -
Arion 9.3 Text Winter 2002
Broken: The Venus de Milo AMELIA ARENAS For Trish The most celebrated statue in the world was bought in 1820 by a French official stationed in the island of Melos for about fifty dollars—and a lucky transaction it was, in more than the obvious sense. The peasant who sold it had found it among the ruins of an ancient theater which the locals were scavenging for old marble to feed to their lime furnaces. Were it not for this bargain, the lovely goddess might have met her fate as septic-tank neutralizer or whitewash. Soon after its arrival in France, the work was presented to Louis xviii, who in turn gave it to the Louvre—an excellent chance to get even with the English, one imagines, who four years earlier had snatched the greatest art treasure in the West- ern world, the sculptures of the Parthenon. And the French got their way. Since then, the Venus de Milo (fig. 1) has been the absolute emblem of classical beauty, ranking far higher in the public’s imagination than the carvings of the Parthenon, which are perhaps superior, and certainly no less beautiful. Think of the three magnificent goddesses who once adorned the tem- ple’s east pediment—faceless, ravaged figures, who still lounge on their pedestal at the British Museum with the ease of teenagers watching tv. Apparently, the world has to thank Lord Elgin for having stolen the sculptures of the Parthenon, or rather, whatever was left of them. In the late seventeenth century, the Ottoman army turned the temple into a gun-powder magazine and was even- tually blown to pieces. -
Similarities and Differences Between the Old Testament and the Ancient Near Eastern Texts
Andrews University Seminary Studies, Vol. 49, No. 1, 5-32. Copyright © 2011 Andrews University Press. SIMILARITIES AND DIFFERENCES BETWEEN THE OLD TESTAMENT AND THE ANCIENT NEAR EASTERN TEXTS ROBE R TO OU R O Adventist School of Theology Sagunto, Valencia, Spain Introduction In 1902, the noted Assyriologist Friedrich Delitzsch presented a series of lectures on comparative studies under the auspices of the German Oriental Society. Delitzsch’s lectures, entitled “Babel und Bibel,” claimed that the literature of the Bible was dependent on, and even borrowed from, the literature of Mesopotamia. He questioned the appropriateness of the traditional theological terminology used to describe the Bible (e.g., revelation, inspiration) in light of its now evident dependency.1 Delitzsch’s work spawned a movement called “Pan-Babylonianism,” which argued that all world myths and Christian Scriptures (OT and NT) were simply versions of Babylonian mythology.2 As the series developed, however, it became clear that the lecturer’s motives were not entirely pure. His interest was to minimize the values of OT teaching so that it could be contrasted with that of the NT.3 The widespread interest in finding connections between the Bible and other ANE cultures has bred its own reaction in the warning raised by several scholars against exaggerating the importance of such similarities, a practice baptized with the name “parallelomania.”4 Of particular concern has been the often tacit assumption that such parallels can be construed as evidence for a genetic connection between the cultures that share them. Despite such warnings, the pendulum of biblical studies has continued to swing back and forth with remarkable regularity over the generations, as initial archeological discoveries have led to enthusiastic claims of similarities with various biblical practices and the implied, if not always stated, conclusion that these constitute the source for the biblical practice in question. -
Andrew George, What's New in the Gilgamesh Epic?
What’s new in the Gilgamesh Epic? ANDREW GEORGE School of Oriental and African Studies University of London Summary. The Babylonian Gilgamesh Epic exists in several different versions. There were at least two versions current during the Old Babylonian period, and no doubt a similar situation obtained later in the second millennium BC, when versions of the epic were copied out in Anatolia, Syria and Palestine, as well as in Mesopotamia proper. But the best-known version is the one called “He who saw the Deep”, which was current in the first-millennium libraries of Assyria and Babylonia. Because this text was so much copied out in antiquity we keep finding more of it, both in museums and in archaeological excavation. This means that editions and translations of the epic must regularly be brought up to date. Some of the more important new passages that are previously unpublished are presented here in translation. WHAT THERE IS It was a great pleasure to be able to share with the Society at the symposium of 20 September 1997 some of the results of my work on the epic of Gilgamesh. My paper of this title was given without a script and was essentially a commentary on the slides that accompanied it. The written paper offered here on the same subject tells the story from the standpoint of one year later. Being the written counterpart of an oral presentation, I hope it may be recognized at least as a distant cousin of the talk given in Toronto. I should say at the outset that my work has been concerned primarily with the textual material in the Akkadian language, that is to say, with the Babylonian poems. -
What Is “Classical” About Classical Antiquity? Eight Propositions
What Is “Classical” about Classical Antiquity? Eight Propositions JAMES I. PORTER 1. “classical antiquity” is not consistently classical In 1930 classical studies experienced an insurrection. Werner Jaeger, in apostasy from his teacher Wilamowitz, convened a conference in Naumburg called “The Problem of the Classical” (Das Problem des Klassischen). The apostasy was open and calculated. Thirty years earlier Wilamowitz had boasted that he helped put paid to the word classical, which he found meaningless, and in his Geschichte der Philologie from 1921 he notoriously (and audibly) omitted the time- honored epithet of his discipline.1 (In English the title ought to read, History of [ ] Philology. The published English and Italian translations spoil the title’s symbolism by reinserting the missing word Classical.) Das Klassische was a problem indeed, and Jaeger’s conference aimed at making classics a classical discipline again, one firmly rooted in classical and humanistic values true for all time, as against its being a compilation of dry historical data. We have a good idea of what the conference was about because Jaeger published its proceedings a year later.2 But what went on behind the scenes? Luckily, in the days before tape recorders there was Alfred Körte, who offers an in- valuable first-hand account of what he saw and heard: “A number of speakers in the discussion at Naumburg sharply disputed the claim that Aeschylus was a classical author of the first rank (ein Klassiker). As the discussion went on, it turned out that actually none of the first-class luminaries of world literature had any rightful claim to the label classical, or at most they had only a qualified claim to it—neither Homer nor Aeschylus nor Shakespeare nor even the young Goethe. -
Male Bodies and the Construction of Masculinity in New Kingdom Egyptian Art
MALE BODIES AND THE CONSTRUCTION OF MASCULINITY IN NEW KINGDOM EGYPTIAN ART Gay Robins Emory University It is with great pleasure that I offer this paper Min as a deity has still to be satisfactorily defined, to Richard Fazzini on the occasion of his 65th there is little doubt about the nature and roles birthday. of Amun. The two most important aspects of the In ancient Egyptian hieroglyphic script, words god for understanding the significance of his ithy- usually end with a final hieroglyph that indicates, phallic image are the connected roles of creator in a general way, the meaning of the word.1 The god and kAmwt.f.6 word tAy, meaning “male/masculine,” ends with In one explanation of the creation, already ¯ the image of an erect, often ejaculating penis,2 recorded in the Old Kingdom and still current making clear that the condition of being male over 2,000 years later, the creator god brought the in ancient Egypt was linked to the erect phallus. ordered world into being through an act of mas- When we turn to images of the male body found turbation.7 This account provided a way for the in formal New Kingdom art, depictions of figures Egyptians to visualize the solution to the prob- with erect phalli are common. Throughout the lem of how one could get to the plurality of temples of Amun at Thebes and elsewhere, fig- creation from the singularity of a creator. They ures of the god in ithyphallic form alternate with speculated that before the moment of creation non-ithyphallic ones.3 Although Amun only came there were only the primeval waters, in which to prominence in the 11th Dynasty, he was al- the potential creator floated without conscious- ready at that time linked to the much older sun ness.