The Witchcraft Series Maqlû
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Plants, Animals, and Bodies of Water the Significance of Color Terminology in the Nature Omens of the Omen Series Šumma Ālu Ina Mēlê Šakin
CORE Metadata, citation and similar papers at core.ac.uk Provided by Helsingin yliopiston digitaalinen arkisto HELSINGIN YLIOPISTO Plants, Animals, and Bodies of Water The significance of color terminology in the nature omens of the omen series Šumma ālu ina mēlê šakin Joonas Hirvonen Pro gradu -tutkielma Helsingin yliopisto Maailman kulttuurien laitos Assyriologia 1.9.2014 Tiivistelmä Pro gradu -tutkielmani käsittelee väriterminologian käyttöä ennesarjassa Šumma ālu ina mēlê šakin (”Jos kaupunki on asetettu korkealle”). Työ on tekstitutkimus ja se keskittyy ennesarjan hermeneuttisiin pääpiirteisiin. Ennesarja on kirjoitettu akkadin kielellä ja se on koottu kuningas Assurbanipalin hallintoaikana (669–627 eaa.), mutta sen vanhimmat osat ajoittuvat jo toiselle vuosituhannelle ennen ajan laskun alkua. Tutkielma sisältää analyysin taulujen 1-40 eläin-, kasvi, ja vesienteistä ja työ pohjautuu Sally Freedmanin vuosina 1998 ja 2006 julkaisemiin käännöksiin ja translitteraatioihin. Tutkimukseni osoittaa, että Mesopotamian oppineilla oli systemaattinen tapa yhdistää tietty väritermi joko negatiiviseen tai positiiviseen enteeseen. Luonnon värimuutoksia tarkkailemalla he kykenivät nopeasti tulkitsemaan, oliko kyseinen enne luonteeltaan positiivinen vai negatiivinen ja tarvitsiko tämän pohjalta suorittaa rituaali (namburbû), joka kumoaisi mahdollisen negatiivisen enteen. Mesopotamialaiset uskoivat jumalten kommunikoivan ihmisille asettamalla enteitä kaikkialle kosmokseen. Oppineet ymmärsivät tämän kommunikaation toimivan nuolenpääkirjoituksen tavoin -
Burn Your Way to Success Studies in the Mesopotamian Ritual And
Burn your way to success Studies in the Mesopotamian Ritual and Incantation Series Šurpu by Francis James Michael Simons A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of Classics, Ancient History and Archaeology School of History and Cultures College of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The ritual and incantation series Šurpu ‘Burning’ is one of the most important sources for understanding religious and magical practice in the ancient Near East. The purpose of the ritual was to rid a sufferer of a divine curse which had been inflicted due to personal misconduct. The series is composed chiefly of the text of the incantations recited during the ceremony. These are supplemented by brief ritual instructions as well as a ritual tablet which details the ceremony in full. This thesis offers a comprehensive and radical reconstruction of the entire text, demonstrating the existence of a large, and previously unsuspected, lacuna in the published version. In addition, a single tablet, tablet IX, from the ten which comprise the series is fully edited, with partitur transliteration, eclectic and normalised text, translation, and a detailed line by line commentary. -
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. -
Constructing the Witch in Contemporary American Popular Culture
"SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans. -
Cun Cuneiform
1159 Cun 1160 Cun represents an object or an idea. However, the signs Cun (Heb. kûn; Vg.: Chun). According to 1 Chr 18 : 8, could also be used with phonetic value, e.g., to help Cun is a Syrian town from which David seized a choose the correct reading of the word and indicate large amount of bronze which Solomon later used its pronunciation (phonetic complement), or as a for the temple. Josephus took the name of the town grammatical element helping to conjugate a verb or to be Μων, that is, reading the mem in Hebrew decline a noun. mkwn as part of the name rather than the preposi- From the first half of the 3rd millennium BCE, tion “from” (Ant. 7.105). The town is perhaps to be when writing Akkadian (a Semitic language), the identified with Berothai in 2 Sam 8 : 8. scribes maintained the cuneiform signs used in Su- Choon-Leong Seow merian, but retained only their phonetic value which generally corresponded to one syllable. For instance, the sign denoting “earth,” ki in Sumerian, Cuneiform was used in Akkadian to note down the sound ki in The term “cuneiform” literally means “wedge- all the words which contained it (like kittum, “jus- shaped” (from Lat. cuneus, “wedge”). First used tice,” which was written using the signs ki, it, and around 1700, the term originally denoted the char- tum). At the same time, the Akkadian language con- acters used in inscriptions at Persepolis, which, at served those ideograms inherited from Sumerian that time, were known in Europe through copies. -
Perspectives on Self-Initiation in the American Neopagan Community Marty Laubach Marshall University, [email protected]
Marshall University Marshall Digital Scholar Sociology and Anthropology Faculty Research Sociology and Anthropology 2007 The rP actitioner, The rP iest, and The rP ofessor: Perspectives on Self-Initiation in the American Neopagan Community Marty Laubach Marshall University, [email protected] Louis Martinie’ Roselinda Clemons Follow this and additional works at: http://mds.marshall.edu/socanthro_faculty Part of the Anthropology Commons, and the Sociology of Religion Commons Recommended Citation Laubach, M., Martinie’, L. & Clemons, R. (2007). The rP actitioner, The priest, and the professor: Perspectives on self-initiation in the American neopagan community. Journal for the Academic Study of Magic, 4, 13-34. This Article is brought to you for free and open access by the Sociology and Anthropology at Marshall Digital Scholar. It has been accepted for inclusion in Sociology and Anthropology Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. Issue 4 - Journal for the Academic Study of Magic 1 Journal for the Academic Study of Magic 2 Journal for the Academic Study of Magic - Issue 4 ISSN 1479-0750 ISBN 978-1869928-391 Published by Mandrake of Oxford, PO Box 250, Oxford, OX1 1AP, UK. http://www.mandrake.uk.net In association with the Society for the Academic Study of Magic, c/o Dep’t of Historical Studies, University of Bristol, 13 Woodland Road, Bristol, BS8 1TB, UK http://www.sasm.co.uk/index.html Bibliographic conventions: please cite as: Green, D (Ed.), The Journal for the Academic Study of Magic, 4, (Mandrake, Oxford, 2007) Copyright of individual articles remains with the author(s), while editorial, style, layout etc of the Journal is © SASM, JSM and Mandrake of Oxford 2007. -
Inanna: a Modern Interpretation
The University of Maine DigitalCommons@UMaine Honors College Spring 2019 Inanna: A Modern Interpretation Erin Butts University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Butts, Erin, "Inanna: A Modern Interpretation" (2019). Honors College. 485. https://digitalcommons.library.umaine.edu/honors/485 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. INANNA: A MODERN INTERPRETATION By Erin Butts A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications, Theatre) The Honors College The University of Maine May 2019 Advisory Committee: Elizabeth Neiman, Associate Professor of English and Women’s, Gender, and Sexuality Studies, Co-Advisor Mary Jean Sedlock, Lecturer in Theatre, Production Manager, and Technical Director, Co-Advisor Daniel Bilodeau, Chair of Theatre and Dance Julie Lisnet, Instructor of Theatre Jennie Woodard, Preceptor in the Honors College © 2019 Erin H. Butts All Rights Reserved ABSTRACT Sumer has a culture lost to history. Currently, the University of Maine offers no courses about ancient Mesopotamia, one of the first civilizations. Over the years, historians have been translating the cuneiform tablets containing their religion and history. There has been one adaptation of those translations, by Diane Wolkstein in 1983 to bring the stories to a wider audience through a collection of stories around the goddess Inanna. -
D I V I N a T I O N Culture a N D the H a N D L I N G of The
Originalveröffentlichung in: G. Leick (Hrsg), The Babylonian World, New York/London, 2007, S. 361-372 CHAPTER TWENTY-FIVE DIVINATION CULTURE AND THE HANDLING OF THE FUTURE Stefan M. Maul n omen is a clearly defined perception understood as a sign pointing to future A events whenever it manifests itself under identical circumstances. The classification of a perception as ominous is based on an epistemological development which establishes a normative relationship between the perceived and the future. This classification process is preceded by a period of detailed examination and is thus initially built on empirical knowledge. Omina only cease to be detected empirically when a firm conceptual link has been established between the observed and the future which then allows omina to be construed by the application of regularities. In the Mesopotamian written sources from the first and second millennia BC, omina based on regularities far exceed those based on empirical data. Mesopotamian scholars generally collected data without formally expressing the fundamental principles behind their method. It was the composition of non-empirical omina as such which allowed students to detect the regularities on which they were based without this formulated orally or in writing. Modern attempts at a systematic investigation of such principles however, are still outstanding. It is interesting that there is no Sumerian or Akkadian equivalent for the terms 'oracle' or 'omen'. Assyriologists use the term omen for the sentence construction 'if x then y' which consists of a main clause beginning with summa ('if') describing the ominous occurence, and a second clause which spells out the predicted outcome. -
The Epic of Gilgamesh Ebook Free Download
THE EPIC OF GILGAMESH PDF, EPUB, EBOOK Andrew George,N. K. Sandars,Richard Pasco | 304 pages | 28 Sep 2015 | Penguin Books Ltd | 9780140449198 | English | London, United Kingdom The Epic of Gilgamesh PDF Book His mother explains that they mean that a new companion will soon arrive at Uruk. The Flood Tablet, 11th cuneiform tablet in a series relating the Gilgamesh epic, from Nineveh, 7th century bce ; in the British Museum, London. Donn has an excellent website that includes a section on Mesopotamia. He plans to use the flower to rejuvenate the old men of the city of Uruk and then to use it himself. An illustration of Gilgamesh from the Chaldean Account of Genesis advertisement. The story begins with the introduction of Gilgamesh , king of Uruk , two-thirds god and one-third human , blessed by the gods with strength, courage and beauty, and the strongest and greatest king who ever existed. Epic poem from Mesopotamia. The definitive modern translation is a two-volume critical work by Andrew George , published by Oxford University Press in Gilgamesh finally leaves with Urshanabi to return to Uruk. Humbaba then curses them both, and Gilgamesh finally puts an end to it. For other uses, see Epic of Gilgamesh disambiguation. The gods respond to the people's pleas by creating an equal to Gilgamesh who will be able to stop his oppression. The gods like the sacrifices so much that they regret having murdered the humans. Synopsis — Gilgamesh Summary Back to Top of Page The story begins with the introduction of Gilgamesh , king of Uruk , two-thirds god and one-third human , blessed by the gods with strength, courage and beauty, and the strongest and greatest king who ever existed. -
Spells in Harry Potter
Spells in Harry Potter FromWikipedia,thefreeencyclopedia Spells in Harry PotteroccurinthefictionaluniverseoftheseriesofbooksbyauthorJ.K. Rowling.Magicspellsareusedbymanyofthecharacterstoachieveusefuleffectswithoutthe benefitofmoderntechnology.Themaindepictionofa"spell"intheHarryPotterbooksconsistsof agesturemadewiththecharacter'swand,combinedwithaspokenormental incantation.Inthe booksandtheirassociatedfilmseries,thenamesofthemajorityofthesespellsorthe incantationsusedtoeffectthemarederivedfromthe Classicallanguages,particularlyLatin[1]. Thesenamesarenotgrammaticallycorrectinanylanguage;mostspokenphrases resemble LatinwordsofappropriatemeaningbutarenotproperLatinthemselves. InHarry Potter and the Half-Blood Prince,theconceptofcastingspellsnonverballyisintroduced. Earlier,everyspellcastbytheprincipalcharactershadbeenaccompaniedbytheappropriate voicedincantation,althoughadvancedadultpractitionersofmagichadcastnonverbalspellsin previousbooks.Consequently,theincantationsusedforsomespellsintroducedin Half-Blood PrinceanditssequelHarry Potter and the Deathly Hallowsarenotknowncanonically. Spellsarelistedherebytheirincantations(whenknown),withtheirvernacularnamesin parenthesis.Somespellshavenoknownincantation–theonlycanonicalreferenceisbyan informalname,eitherbecauseinitsonlyappearanceintherelevantbookitwascastnonverbally, orbecauseitwasneverdepictedinthebooks,onlymentioned.Themajorityofspellscastin duelsbetweenadultcharactersinallsevenbooksappearnonverbally;suchspellscanbeonly identifiedbytheireffects. Contents A B C D E F G H I J K L M N O P -
288 Book Reviews
288 Book Reviews Koichi Shinohara Spells, Images, and Maṇḍalas: Tracing the Evolution of Esoteric Buddhist Rituals. New York: Columbia University Press, 2014. xxii + 324 pages. Hardcover. isbn 978-0-23-116614-0. us$50.00. Koichi Shinohara’s new work, Spells, Images, and Maṇḍalas, is an important work of scholarship that offers new insights into the early development of Indian Esoteric Buddhist rituals, through a careful philological examination of sources in Chinese translation. While his primary research questions concern the nature and trajectory of Buddhist ritual developments in India, Shinohara’s work nevertheless provides important context for the development of Esoteric Buddhist ritual in China. By examining dhāraṇī/mantra recitation, maṇḍala initiation, and deity visualization, Shinohara gives readers insights into prac- tices that were and continue to be prominent in certain forms of Sinitic Buddhism. The central premise of Spells, Images, and Maṇḍalas is that a clear trajectory of development can be traced from the simple recitation of dhāraṇī- incantations described in some Mahāyāna Buddhist scriptures (particularly those that have come to be known as dhāraṇī-sūtra [tuoluoni jing 陀羅尼經]) to the complex rituals of incantation, initiation, and visualization found in “mature” Esoteric Buddhism, exemplified in East Asian traditions by texts such as the Mahāvairocana-sūtra and Vajraśekhara-sūtra. Shinohara demonstrates and describes these developments through the close reading and comparative analysis of Indic texts on Buddhist ritual translated into Chinese, largely between the fourth and eighth centuries ce. In the introduction, Shinohara characterizes these ritual developments by describing three different “ritual scenarios,” each more complex than its prede- cessor, which he has observed across a wide variety of sources. -
MESOPOTAMIAN MAGIC in TEXT and PERFORMANCE Sam Mirelman
ACCEPTED PRE-PROOF: BOOK CHAPTER IN: S. PANAYOTOV, U. STEINERT AND L. VACÍN (EDS.), MAGIC AND MEDICINE IN MESOPOTAMIA. FESTSCHRIFT FOR M. J. GELLER. ANCIENT MAGIC AND DIVINATION SERIES. BRILL (2018). - HTTPS://DOI.ORG/10.1163/9789004368088_018 DOWNLOADED FROM SOAS RESEARCH ONLINE - HTTPS://EPRINTS.SOAS.AC.UK/30220 MESOPOTAMIAN MAGIC IN TEXT AND PERFORMANCE Sam Mirelman Any representation of an action or utterance in written form is, by definition, never a full reflection of its actual performance.1 Indeed, our knowledge of Mesopotamian magic, as it existed in performance, will always be partial and incomplete. This is a result of the simple fact that our knowledge of the practice of Mesopotamian magic is channeled mainly through the medium of text. 2 Assuming a written representation serves as a record of an existing ritual practice, it must be approached as a selective account of specific aspects of a ritual, which were deemed necessary to be written down, in a specific time, place and context.3 In addition, we cannot assume that a ritual text4 or written recitation merely records a practice which existed before it was written down; the action or recitation may have been composed initially in writing, by means of a combination of observation and writing, or with reference to an oral tradition. Following the initial writing of an incantation or ritual text, the composition represented by the text may have been transmitted in writing and/or orally. Similarly, the composition may have been performed with a full or partial reference to a text, a version of it, or as a purely or partially oral tradition.