Isaiah Xxi in the Light of Assyrian History
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Hegelian Master-Slave Dialectics: Lord Byron's Sardanapalus
English Language and Literature Studies; Vol. 3, No. 1; 2013 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Hegelian Master-Slave Dialectics: Lord Byron’s Sardanapalus Marziyeh Farivar1, Roohollah R. Sistani1 & Masoumeh Mehni2 1 School of Language studies and Linguistics, UKM, Malaysia 2 University Putra Malaysia, Malaysia Correspondence: Marziyeh Farivar, School of Language Studies and Linguistics (PPBL), Faculty of Social Science and Humanities (FSSK), University Kebangsaan Malaysia, Malaysia. Tel: 60-173-264-628. E-mail: [email protected] Received: December 12, 2012 Accepted: January 3, 2013 Online Published: January 17, 2013 doi:10.5539/ells.v3n1p16 URL: http://dx.doi.org/10.5539/ells.v3n1p16 Abstract This paper intends to discuss Byron’s “Sardanapalus” by focusing on the Hegelian master-slave dialectics. Written in 1821, “Sardanapalus” presents some trends about Lord Byron’s creation of the Byronic Hero. The Byronic hero is emotional, dreamy, and impulsive. Sardanapalus, the Byronic hero, is the Assyrian King who possesses the complicated nature of both master and slave which is the focus of this article. There are encounters of masters and slaves that consciously and unconsciously take place in this dramatic verse. Sardanapalus’ relationships to his mistress, his brother-in-law and the citizens involve a complex thesis and anti-thesis. Hegelian dialectics reflect the processes of recognition of consciousness through such thesis and anti-thesis. Bondage and lordship and dependency and independency are concepts that are within these processes. Hegel explains that the identity and role of the master and slave can be recognized when they are interacting. -
The Assyrian Period the Nee-Babylonian Period
and ready to put their ban and curse on any intruder. A large collection of administrative documents of the Cassite period has been found at Nippur. The Assyrian Period The names of the kings of Assyria who reigned in the great city of Nineveh in the eighth and seventh centuries until its total destruction in 606 B.C. have been made familiar to us through Biblical traditions concerning the wars of Israel and Juda, the siege of Samaria and Jeru- salem, and even the prophet Jonah. From the palaces at Calah, Nineveh, Khorsabad, have come monumental sculptures and bas-reliefs, historical records on alabaster slabs and on clay prisms, and the many clay tab- lets from the royal libraries. Sargon, Sennacherib, Esarhaddon, Ashur- banipal- the Sardanapalus of the Greeks- carried their wars to Baby- lonia, to Elam, to the old Sumerian south on the shores of the Persian Gulf. Babylon became a province of the Assyrian Empire under the king's direct control, or entrusted to the hand of a royal brother or even to a native governor. The temples were restored by their order. Bricks stamped with the names of the foreign rulers have been found at Nip- pur, Kish, Ur and other Babylonian cities, and may be seen in the Babylonian Section of the University Museum. Sin-balatsu-iqbi was governor of Ur and a devoted servant of Ashurbanipal. The temple of Nannar was a total ruin. He repaired the tower, the enclosing wall, the great gate, the hall of justice, where his inscribed door-socket, in the shape of a green snake, was still in position. -
2 the Assyrian Empire, the Conquest of Israel, and the Colonization of Judah 37 I
ISRAEL AND EMPIRE ii ISRAEL AND EMPIRE A Postcolonial History of Israel and Early Judaism Leo G. Perdue and Warren Carter Edited by Coleman A. Baker LONDON • NEW DELHI • NEW YORK • SYDNEY 1 Bloomsbury T&T Clark An imprint of Bloomsbury Publishing Plc Imprint previously known as T&T Clark 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury, T&T Clark and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Leo G. Perdue, Warren Carter and Coleman A. Baker, 2015 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Leo G. Perdue, Warren Carter and Coleman A. Baker have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the authors. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-0-56705-409-8 PB: 978-0-56724-328-7 ePDF: 978-0-56728-051-0 Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the British Library. Typeset by Forthcoming Publications (www.forthpub.com) 1 Contents Abbreviations vii Preface ix Introduction: Empires, Colonies, and Postcolonial Interpretation 1 I. -
Muhammad Speaking of the Messiah: Jesus in the Hadīth Tradition
MUHAMMAD SPEAKING OF THE MESSIAH: JESUS IN THE HADĪTH TRADITION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Fatih Harpci (May 2013) Examining Committee Members: Prof. Khalid Y. Blankinship, Advisory Chair, Department of Religion Prof. Vasiliki Limberis, Department of Religion Prof. Terry Rey, Department of Religion Prof. Zameer Hasan, External Member, TU Department of Physics © Copyright 2013 by Fatih Harpci All Rights Reserved ii ABSTRACT Much has been written about Qur’ānic references to Jesus (‘Īsā in Arabic), yet no work has been done on the structure or formal analysis of the numerous references to ‘Īsā in the Hadīth, that is, the collection of writings that report the sayings and actions of the Prophet Muhammad. In effect, non-Muslims and Muslim scholars neglect the full range of Prophet Muhammad’s statements about Jesus that are in the Hadīth. The dissertation’s main thesis is that an examination of the Hadīths’ reports of Muhammad’s words about and attitudes toward ‘Īsā will lead to fuller understandings about Jesus-‘Īsā among Muslims and propose to non-Muslims new insights into Christian tradition about Jesus. In the latter process, non-Muslims will be encouraged to re-examine past hostile views concerning Muhammad and his words about Jesus. A minor thesis is that Western readers in particular, whether or not they are Christians, will be aided to understand Islamic beliefs about ‘Īsā, prophethood, and eschatology more fully. In the course of the dissertation, Hadīth studies will be enhanced by a full presentation of Muhammad’s words about and attitudes toward Jesus-‘Īsā. -
The Background and Meaning of the Image of the Beast in Rev. 13:14, 15
Andrews University Digital Commons @ Andrews University Dissertations Graduate Research 2016 The Background and Meaning of the Image of the Beast in Rev. 13:14, 15 Rebekah Yi Liu [email protected] Follow this and additional works at: https://digitalcommons.andrews.edu/dissertations Part of the Biblical Studies Commons Recommended Citation Liu, Rebekah Yi, "The Background and Meaning of the Image of the Beast in Rev. 13:14, 15" (2016). Dissertations. 1602. https://digitalcommons.andrews.edu/dissertations/1602 This Dissertation is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. ABSTRACT THE BACKGROUNDS AND MEANING OF THE IMAGE OF THE BEAST IN REV 13:14, 15 by Rebekah Yi Liu Adviser: Dr. Jon Paulien ABSTRACT OF GRADUATE STDUENT RESEARCH Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: THE BACKGROUNDS AND MEANING OF THE IMAGE OF THE BEAST IN REV 13:14, 15 Name of researcher: Rebekah Yi Liu Name and degree of faculty adviser: Jon Paulien, Ph.D. Date Completed: May 2016 Problem This dissertation investigates the first century Greco-Roman cultural backgrounds and the literary context of the motif of the image of the beast in Rev 13:14, 15, in order to answer the problem of the author’s intended meaning of the image of the beast to his first century Greco-Roman readers. Method There are six steps necessary to accomplish the task of this dissertation. -
You Will Be Like the Gods”: the Conceptualization of Deity in the Hebrew Bible in Cognitive Perspective
“YOU WILL BE LIKE THE GODS”: THE CONCEPTUALIZATION OF DEITY IN THE HEBREW BIBLE IN COGNITIVE PERSPECTIVE by Daniel O. McClellan A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Master of Arts in Biblical Studies We accept this thesis as conforming to the required standard ............................................................................... Dr. Craig Broyles, PhD; Thesis Supervisor ................................................................................ Dr. Martin Abegg, PhD; Second Reader TRINITY WESTERN UNIVERSITY December, 2013 © Daniel O. McClellan Table of Contents Chapter 1 – Introduction 1 1.1 Summary and Outline 1 1.2 Cognitive Linguistics 3 1.2.1 Profiles and Bases 8 1.2.2 Domains and Matrices 10 1.2.3 Prototype Theory 13 1.2.4 Metaphor 16 1.3 Cognitive Linguistics in Biblical Studies 19 1.3.1 Introduction 19 1.3.2 Conceptualizing Words for “God” within the Pentateuch 21 1.4 The Method and Goals of This Study 23 Chapter 2 – Cognitive Origins of Deity Concepts 30 2.1 Intuitive Conceptualizations of Deity 31 2.1.1 Anthropomorphism 32 2.1.2 Agency Detection 34 2.1.3 The Next Step 36 2.2. Universal Image-Schemas 38 2.2.1 The UP-DOWN Image-Schema 39 2.2.2 The CENTER-PERIPHERY Image-Schema 42 2.3 Lexical Considerations 48 48 אלהים 2.3.1 56 אל 2.3.2 60 אלוה 2.3.3 2.4 Summary 61 Chapter 3 – The Conceptualization of YHWH 62 3.1 The Portrayals of Deity in the Patriarchal and Exodus Traditions 64 3.1.1 The Portrayal of the God of the Patriarchs -
Delacroix and the Ends of Civilizations Michèle Hannoosh
delacroix and the ends of civilizations michèle hannoosh deLacroix was preoccupied with the fate library of the Palais du Luxembourg, seat of the of civilizations, their origins, and, especially, their ends. Chamber of Peers (1840–46). The theme was emi- The theme occurs already in works from early in his nently appropriate for a library, the institution that career, beginning with paintings from the 1820s such represents, encompasses, and preserves civilizations, as Greece on the Ruins of Missolonghi (fig. 1) and The and it dominates spectacularly both of Delacroix’s Death of Sardanapalus (fig. 2). The monumental allegory schemes. He filled sheets of paper with notes to him- of Greece standing atop the ruins of Greek civilization self of subjects appropriate to the theme: some of after the year long siege of Missolonghi by the Turks these were indeed included in one or other of the was a highly topical subject in the service of a highly libraries, others were “recycled” into separate easel visible liberal cause in Restoration France, the Greek paintings, still others were abandoned altogether. War of Independence.1 The Death of Sardanapalus of Crucially, Delacroix’s subjects reflect not only the 1827, however literary its origin in Byron’s play, and preservation of cultures and civilizations but also their whatever occasion it may have presented for a virtuo- destruction, the threats that they face, the chance sic display of flesh, décor, and frenzied movement, circumstances in which they either perish or survive. also represents the -
"The Assyrian Empire, the Conquest of Israel, and the Colonization of Judah." Israel and Empire: a Postcolonial History of Israel and Early Judaism
"The Assyrian Empire, the Conquest of Israel, and the Colonization of Judah." Israel and Empire: A Postcolonial History of Israel and Early Judaism. Perdue, Leo G., and Warren Carter.Baker, Coleman A., eds. London: Bloomsbury T&T Clark, 2015. 37–68. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9780567669797.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:38 UTC. Copyright © Leo G. Perdue, Warren Carter and Coleman A. Baker 2015. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 The Assyrian Empire, the Conquest of Israel, and the Colonization of Judah I. Historical Introduction1 When the installation of a new monarch in the temple of Ashur occurs during the Akitu festival, the Sangu priest of the high god proclaims when the human ruler enters the temple: Ashur is King! Ashur is King! The ruler now is invested with the responsibilities of the sovereignty, power, and oversight of the Assyrian Empire. The Assyrian Empire has been described as a heterogeneous multi-national power directed by a superhuman, autocratic king, who was conceived of as the representative of God on earth.2 As early as Naram-Sin of Assyria (ca. 18721845 BCE), two important royal titulars continued and were part of the larger titulary of Assyrian rulers: King of the Four Quarters and King of All Things.3 Assyria began its military advances west to the Euphrates in the ninth century BCE. -
Sardanapalus and Gender: Examining Gender in the Works of Byron and Delacroix Stacey Schmiesing University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2015 Sardanapalus and Gender: Examining Gender in the Works of Byron and Delacroix Stacey Schmiesing University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Comparative Literature Commons, Gender and Sexuality Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Schmiesing, Stacey, "Sardanapalus and Gender: Examining Gender in the Works of Byron and Delacroix" (2015). Theses and Dissertations. 837. https://dc.uwm.edu/etd/837 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. SARDANAPALUS AND GENDER: EXAMINING GENDER IN THE WORKS OF BYRON AND DELACROIX by Stacey Schmiesing A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin Milwaukee May 2015 ABSTRACT SARDANAPALUS AND GENDER: EXAMINING GENDER IN THE WORKS OF BYRON AND DELACROIX by Stacey Schmiesing The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Katherine Wells This thesis discusses the gender standards as portrayed in Lord Byron’s play Sardanapalus (1824) and Eugène Delacroix’s painting Death of Sardanapalus (1828). These Romantic artists were part of a movement that changed gender conventions forever. The eighteenth and nineteenth centuries brought about a culture that was more visual than ever and symbols of gender identity were everywhere. Rules of masculinity evolved from valuing raw power to including middle class virtues like moderation. -
Biblical Assyria and Other Anxieties in the British Empire Steven W
James Madison University JMU Scholarly Commons Libraries Libraries & Educational Technologies 2001 Biblical Assyria and Other Anxieties in the British Empire Steven W. Holloway James Madison University, [email protected] Follow this and additional works at: http://commons.lib.jmu.edu/letfspubs Part of the European Languages and Societies Commons, Fine Arts Commons, Library and Information Science Commons, Literature in English, British Isles Commons, Near Eastern Languages and Societies Commons, and the Theory and Criticism Commons Recommended Citation “Biblical Assyria and Other Anxieties in the British Empire,” Journal of Religion & Society (http://moses.creighton.edu/jrs/2001/ 2001-12.pdf) This Article is brought to you for free and open access by the Libraries & Educational Technologies at JMU Scholarly Commons. It has been accepted for inclusion in Libraries by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Journal of Religion & Society Volume 3 (2001) ISSN 1522-5658 Biblical Assyria and Other Anxieties in the British Empire Steven W. Holloway, American Theological Library Association and Saint Xavier University, Chicago Abstract The successful “invasion” of ancient Mesopotamia by explorers in the pay of the British Museum Trustees resulted in best-selling publications, a treasure-trove of Assyrian antiquities for display purposes and scholarly excavation, and a remarkable boost to the quest for confirmation of the literal truth of the Bible. The public registered its delight with the findings through the turnstyle- twirling appeal of the British Museum exhibits, and a series of appropriations of Assyrian art motifs and narratives in popular culture - jewelry, bookends, clocks, fine arts, theater productions, and a walk-through Assyrian palace among other period mansions at the Sydenham Crystal Palace. -
(Re)Envisioning Orientalist North Africa: Exploring Representations Of
intersections online Volume 11, Number 2 (Autumn 2010) Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107. ABSTRACT This article explores the politics and aesthetics of “authenticity” in artistic representations of Morocco from the mid-nineteenth century to the present day. Through an analysis of the evolution of European and North African artistic depictions of the Maghreb, I examine how the desire for cultural authenticity in representation has influenced the production and consumption of artistic depictions of this region. Three thematic questions emerge: Who are the objects and what are the objectives of traditional and potentially Orientalist paintings? How do identity politics affect the work of post-modern artists from North Africa who reject the Orientalist stereotypes and traditions of European painters? And what do purchases of art, commercial and avant-garde, say about what is popular or accurate? I begin by discussing nineteenth-century French painter Eugène Delacroix’s paintings of Morocco and Algeria, and the real and perceived authenticity of these works. Next, I study the effects of Delacroix’s “authentic” paintings on artists of European and North African origin, including Matisse, Picasso, Mahieddine, Niati, and others. Finally, by means of interviews conducted during a recent trip to Fes and Tangier, I explore the marketing of traditional cultural experiences to visitors as authentic and the ways in which both Moroccans and tourists literally buy into these ideas. By putting artists and consumers from different time periods and regions into virtual dialogue with each other, this project illustrates the complex ways in which we construct and continually revise notions of authenticity. -
The Prophecy That Is Shaping History
The Prophecy That Is Shaping History: New Research on Ezekiel’s Vision of the End Jon Mark Ruthven, PhD Ihab Griess, PhD Xulon Press 11350 Random Hills Drive #800 Fairfax, Virginia 22030 Copyright Jon Mark Ruthven © 2003 In memoriam Pamela Jessie Ruthven PhD, LCSW 26 March 1952 – 9 April 2001 Wife, mother, and faithful friend i Preface Great events in history often gather momentum and power long before they are recognized by the experts and commentators on world affairs. Easily one of the most neglected but powerfully galvanizing forces shaping history in the world today is the prophecy of Gog and Magog from the 38th and 39th chapters of the book of Ezekiel. This prophecy from the Jewish-Christian Bible has molded geo-politics, not only with- in the United States and the West but also, to an amazing degree, in the Muslim world as well. It seems that, millennia ago, Ezekiel’s vision actually named the nation which millions today believe plays the major role in this prophecy: the nation of Russia. Many modern scholars have dismissed Ezekiel’s Gog and Magog prophecy as a mystical apocalypse written to vindicate the ancient claims of a minor country’s deity. The very notion of such a prediction—that semi-mythical and unrelated nations that dwelt on the fringes of Israel’s geographical consciousness 2,500 years ago would, “in the latter days,” suddenly coalesce into a tidal wave of opposition to a newly regathered state of Jews—seems utterly incredible to a modern mentality. Such a scenario, the experts say, belongs only to the fundamentalist “pop religion” of The Late, Great Planet Earth and of TV evangelists.