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Copyright © 2014 Richard Charles Mcdonald All Rights Reserved. The
Copyright © 2014 Richard Charles McDonald All rights reserved. The Southern Baptist Theological Seminary has permission to reproduce and disseminate this document in any form by any means for purposes chosen by the Seminary, including, without, limitation, preservation or instruction. GRAMMATICAL ANALYSIS OF VARIOUS BIBLICAL HEBREW TEXTS ACCORDING TO A TRADITIONAL SEMITIC GRAMMAR __________________ A Dissertation Presented to the Faculty of The Southern Baptist Theological Seminary __________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________________ by Richard Charles McDonald December 2014 APPROVAL SHEET GRAMMATICAL ANALYSIS OF VARIOUS BIBLICAL HEBREW TEXTS ACCORDING TO A TRADITIONAL SEMITIC GRAMMAR Richard Charles McDonald Read and Approved by: __________________________________________ Russell T. Fuller (Chair) __________________________________________ Terry J. Betts __________________________________________ John B. Polhill Date______________________________ I dedicate this dissertation to my wife, Nancy. Without her support, encouragement, and love I could not have completed this arduous task. I also dedicate this dissertation to my parents, Charles and Shelly McDonald, who instilled in me the love of the Lord and the love of His Word. TABLE OF CONTENTS Page LIST OF ABBREVIATIONS.............................................................................................vi LIST OF TABLES.............................................................................................................vii -
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. -
The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
Gilgamesh's superiority. They hugged and became best friends. Name Always eager to build a name for himself, Gilgamesh wanted to have an adventure. He wanted to go to the Cedar Forest and slay its guardian demon, Humbaba. Enkidu did not like the idea. He knew The Epic of Gilgamesh Humbaba from his days running wild in the forest. He tried to talk his best friend out of it. But Gilgamesh refused to listen. Reluctantly, By Vickie Chao Enkidu agreed to go with him. A long, long time ago, there After several days of journeying, Gilgamesh and Enkidu at last was a kingdom called Uruk. reached the edge of the Cedar Forest. Their intrusion made Humbaba Its ruler was Gilgamesh. very angry. But thankfully, with the help of the sun god, Shamash, the duo prevailed. They killed Humbaba and cut down the forest. They Gilgamesh, by all accounts, fashioned a raft out of the cedar trees. Together, they set sail along the was not an ordinary person. Euphrates River and made their way back to Uruk. The only shadow He was actually a cast over this victory was Humbaba's curse. Before he was beheaded, superhuman, two-thirds god he shouted, "Of you two, may Enkidu not live the longer, may Enkidu and one-third human. As king, not find any peace in this world!" Gilgamesh was very harsh. His people were scared of him and grew wary over time. They pleaded with the sky god, Anu, for his help. In When Gilgamesh and Enkidu arrived at Uruk, they received a hero's response, Anu asked the goddess Aruru to create a beast-like man welcome. -
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. -
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. -
SUMERIAN LITERATURE and SUMERIAN IDENTITY My Title Puts
CNI Publicati ons 43 SUMERIAN LITERATURE AND SUMERIAN IDENTITY JERROLD S. COOPER PROBLEMS OF C..\NONlCl'TY AND IDENTITY FORMATION IN A NCIENT EGYPT AND MESOPOTAMIA There is evidence of a regional identity in early Babylonia, but it does not seem to be of the Sumerian ethno-lingusitic sort. Sumerian Edited by identity as such appears only as an artifact of the scribal literary KIM RYHOLT curriculum once the Sumerian language had to be acquired through GOJKO B AR .I AMOVIC educati on rather than as a mother tongue. By the late second millennium, it appears there was no notion that a separate Sumerian ethno-lingui stic population had ever existed. My title puts Sumerian literature before Sumerian identity, and in so doing anticipates my conclusion, which will be that there was little or no Sumerian identity as such - in the sense of "We are all Sumerians!" outside of Sumerian literature and the scribal milieu that composed and transmitted it. By "Sumerian literature," I mean the corpus of compositions in Sumerian known from manuscripts that date primarily 1 to the first half of the 18 h century BC. With a few notable exceptions, the compositions themselves originated in the preceding three centuries, that is, in what Assyriologists call the Ur III and Isin-Larsa (or Early Old Babylonian) periods. I purposely eschew the too fraught and contested term "canon," preferring the very neutral "corpus" instead, while recognizing that because nearly all of our manuscripts were produced by students, the term "curriculum" is apt as well. 1 The geographic designation "Babylonia" is used here for the region to the south of present day Baghdad, the territory the ancients would have called "Sumer and Akkad." I will argue that there is indeed evidence for a 3rd millennium pan-Babylonian regional identity, but little or no evidence that it was bound to a Sumerian mother-tongue community. -
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 Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography BY PAUL JOSEPH KRAUSE The eagle-god is a prominent iconographic symbol of ancient Mesopotamian religion which wielded tremendous power in the Mesopotamian imagination. The eagle-like gods of Mesopotamia eventually evolved into double-headed gods whose depictions became widespread in imperial and religious symbolism and iconography in Sumer and Akkad.1 These symbols now have common misapprehension as in the common public as being tied to Byzantine Empire of Late Antiquity and the Middle Ages. Rather, the Byzantines most likely inherited these Mesopotamian symbols and employed them in a similar manner as the Sumerians, Akkadians, and Hittites did. Likewise, the iconographic symbols of the moon god Nanna-Sin, who had the power to render the fate of humans,2 re-appeared in early Christian iconography depicting Christ in the Last Judgment. To best understand the iconographic practices and symbols used by the Byzantine Empire and emerging early Christian Church is to understand the foundational contexts by which these symbols first arose and the common religious practice of transferring and re-dedicating prior religious shrines to new deities. “Today the Byzantine eagle flutters proudly from the flags of nations from Albania to Montenegro, and though each state has its local version of the church, the heritage they all bear 1 C.N. Deedes, “The Double-Headed God,” Folklore 46, no. 3 (1935): 197-200. 2 See Samuel Noah Kramer, The Sumerians: Their History, Culture, and Character (Chicago: University of Chicago Press, 1971), 132; Georges Roux, Ancient Iraq (New York: Penguin Books, 1992), 88. -
Who Maketh the Clouds His Chariot: the Comparative Method and The
LIBERTY UNIVERSITY SCHOOL OF RELIGION WHO MAKETH THE CLOUDS HIS CHARIOT: THE COMPARATIVE METHOD AND THE MYTHOPOETICAL MOTIF OF CLOUD-RIDING IN PSALM 104 AND THE EPIC OF BAAL A THESIS SUBMITTED TO THE FACULTY OF LIBERTY UNIVERSITY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN RELIGIOUS STUDIES BY JORDAN W. JONES LYNCHBURG, VIRGINIA APRIL 2010 “The views expressed in this thesis do not necessarily represent the views of the institution and/or of the thesis readers.” Copyright © 2009 by Jordan W. Jones All Rights Reserved ii ACKNOWLEDGMENTS To Dr. Don Fowler, who introduced me to the Hebrew Bible and the ancient Near East and who instilled in me an intellectual humility when studying the Scriptures. To Dr. Harvey Hartman, who introduced me to the Old Testament, demanded excellence in the classroom, and encouraged me to study in Jerusalem, from which I benefited greatly. To Dr. Paul Fink, who gave me the opportunity to do graduate studies and has blessed my friends and I with wisdom and a commitment to the word of God. To James and Jeanette Jones (mom and dad), who demonstrated their great love for me by rearing me in the instruction and admonition of the Lord and who thought it worthwhile to put me through college. <WqT* <yx!u&oy br)b=W dos /ya@B= tobv*j&m^ rp@h* Prov 15:22 To my patient and sympathetic wife, who endured my frequent absences during this project and supported me along the way. Hn`ovl=-lu^ ds#j#-tr~otw+ hm*k=j*b= hj*t=P* h*yP! Prov 31:26 To the King, the LORD of all the earth, whom I love and fear. -
The Epic of Gilgamesh
The Epic of Gilgamesh 47 The Epic of Gilgamesh Perhaps arranged in the fifteenth century B.C., The Epic of Gilgamesh draws on even more ancient traditions of a Sumerian king who ruled a great city in what is now southern Iraq around 2800 B.C. This poem (more lyric than epic, in fact) is the earliest extant monument of great literature, presenting archetypal themes of friendship, renown, and facing up to mortality, and it may well have exercised influence on both Genesis and the Homeric epics. 49 Prologue He had seen everything, had experienced all emotions, from ex- altation to despair, had been granted a vision into the great mystery, the secret places, the primeval days before the Flood. He had jour- neyed to the edge of the world and made his way back, exhausted but whole. He had carved his trials on stone tablets, had restored the holy Eanna Temple and the massive wall of Uruk, which no city on earth can equal. See how its ramparts gleam like copper in the sun. Climb the stone staircase, more ancient than the mind can imagine, approach the Eanna Temple, sacred to Ishtar, a temple that no king has equaled in size or beauty, walk on the wall of Uruk, follow its course around the city, inspect its mighty foundations, examine its brickwork, how masterfully it is built, observe the land it encloses: the palm trees, the gardens, the orchards, the glorious palaces and temples, the shops and marketplaces, the houses, the public squares. Find the cornerstone and under it the copper box that is marked with his name.