Gilgamesh the Hero of Mesopotamia
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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. -
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 -
The Epic of Gilgamesh: Tablet XI
Electronic Reserves Coversheet Copyright Notice The work from which this copy was made may be protected by Copyright Law (Title 17 U.S. Code http://www4.law.cornell.edu/uscode/17/) The copyright notice page may, or may not, be included with this request. If it is not included, please use the following guidelines and refer to the U.S. Code for questions: Use of this material may be allowed if one or more of these conditions have been met: • With permission from the rights holder. • If the use is “Fair Use.” • If the Copyright on the work has expired. • If it falls within another exemption. **The USER of this is responsible for determining lawful uses** Montana State University Billings Library 1500 University Drive Billings, MT 59101-0298 (406) 657-1687 The Epic of Gilgamesh: Tablet XI The Story of the Flood Tell me, how is it that you stand in the Assembly of the Gods, and have found life!" Utanapishtim spoke to Gilgamesh, saying: "I will reveal to you, Gilgamesh, a thing that is hidden, a secret of the gods I will tell you! Shuruppak, a city that you surely know, situated on the banks of the Euphrates, that city was very old, and there were gods inside it. The hearts of the Great Gods moved them to inflict the Flood. Ea, the Clever Prince(?), was under oath with them so he repeated their talk to the reed house: 'Reed house, reed house! Wall, wall! O man of Shuruppak, son of Ubartutu: Tear down the house and build a boat! Abandon wealth and seek living beings! Spurn possessions and keep alive living beings! Make all living beings go up into the boat. -
Protoculture Addicts
PA #88 // CONTENTS PA A N I M E N E W S N E T W O R K ' S ANIME VOICES 4 Letter From The Publisher PROTOCULTURE¯:paKu]-PROTOCULTURE ADDICTS 5 Page 5 Editorial Issue #88 (Summer 2006) 6 Contributors Spotlight SPOTLIGHTS 98 Letters 25 BASILISK NEWS Overview Character Profiles 8 Anime Releases (R1 DVDs) Story Primer 10 Related Products Releases Shinobi: The live-action movie 12 Manga Releases By Miyako Matsuda & C.J. Pelletier 17 Anime & Manga News 32 URUSEI YATSURA An interview with Robert Woodhead MANGA PREVIEW An Introduction By Zac Bertschy & Therron Martin 53 ES: Eternal Sabbath 35 VIZ MEDIA ANIME WORLD An interview with Alvin Lu By Zac Bertschy 73 Convention Guide 78 Interview ANIME STORIES Hitoshi Ariga 80 Making The Band 55 BEWITCHED AGNES 10 Tips from Full Moon on Becoming a Popstar Okusama Wa Maho Shoujo 82 Fantasia Genre Film Festival By Miyako Matsuda & C.J. Pelletier Sample fileKamikaze Girls 58 BLOOD + The Taste Of Tea By Miyako Matsuda & C. Macdonald 84 The Modern Japanese Music Database Part 35: Home Page 19: Triceratops 60 ELEMENTAL GELADE By Miyako Matsuda REVIEWS 63 GALLERY FAKE 86 Books Howl’s Moving Castle Novel By Miyako Matsuda & C.J. Pelletier Le Guide Phénix Du Manga 65 GUN SWORD Love Hina, Novel Vol. 1 By Miyako Matsuda & C.J. Pelletier 87 Live-Action Lorelei 67 KAMICHU! 88 Manga Kamisama Wa Chugakusei 90 Related Products By Miyako Matsuda CD Soundtracks 69 TIDELINE BLUE Otaku Unite! By Miyako Matsuda & C.J. Pelletier 91 Anime More on: www.protoculture-mag.com & www.animenewsnetwork.com 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ LETTER FROM THE PUBLISHER A N I M E N E W S N E T W O R K ' S PROTOCULTUREPROTOCULTURE¯:paKu]- ADDICTS Over seven years of writing and editing anime reviews, I’ve put a lot of thought into what a Issue #88 (Summer 2006) review should be and should do, as well as what is shouldn’t be and shouldn’t do. -
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. -
„…Of Uruk-The-Sheepfold”
Универзитет уметности у Београду Факултет музичке уметности Катедра за композицију ментор: Зоран Ерић, редовни професор Никола В. Ветнић „… o f U r u k - t h e - S h e e p f o l d ” за приповедача, сопран и камерни инструментални ансамбл ТЕОРИЈСКА СТУДИЈА О ДОКТОРСКОМ УМЕТНИЧКОМ ПРОЈЕКТУ Београд, 2016 Универзитет уметности у Београду Факултет музичке уметности Катедра за композицију ментор: Зоран Ерић, редовни професор Никола В. Ветнић „… o f U r u k - t h e - S h e e p f o l d ” за приповедача, сопран и камерни инструментални ансамбл ТЕОРИЈСКА СТУДИЈА О ДОКТОРСКОМ УМЕТНИЧКОМ ПРОЈЕКТУ Београд, 2016 САДРЖАЈ 1 ПОЛАЗИШТА.......................................................................................................................7 1.1 Ораторијум ХХ века ......................................................................................................7 1.2 (Ре)дефинисање ораторијума ........................................................................................9 1.3 Еп о Гилгамешу.............................................................................................................11 1.4 Утицаји..........................................................................................................................19 1.4.1 Socrate, Eric Satie ...................................................................................................19 1.4.2 Voices of Light, Richard Einhorn ............................................................................24 2 МУЗИКА У ДЕЛУ „...of Uruk-the-Sheepfold…” ..............................................................32 -
11Eyes Achannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air
11eyes AChannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air Master Amaenaideyo Angel Beats Angelic Layer Another Ao No Exorcist Appleseed XIII Aquarion Arakawa Under The Bridge Argento Soma Asobi no Iku yo Astarotte no Omocha Asu no Yoichi Asura Cryin' B Gata H Kei Baka to Test Bakemonogatari (and sequels) Baki the Grappler Bakugan Bamboo Blade Banner of Stars Basquash BASToF Syndrome Battle Girls: Time Paradox Beelzebub BenTo Betterman Big O Binbougami ga Black Blood Brothers Black Cat Black Lagoon Blassreiter Blood Lad Blood+ Bludgeoning Angel Dokurochan Blue Drop Bobobo Boku wa Tomodachi Sukunai Brave 10 Btooom Burst Angel Busou Renkin Busou Shinki C3 Campione Cardfight Vanguard Casshern Sins Cat Girl Nuku Nuku Chaos;Head Chobits Chrome Shelled Regios Chuunibyou demo Koi ga Shitai Clannad Claymore Code Geass Cowboy Bebop Coyote Ragtime Show Cuticle Tantei Inaba DFrag Dakara Boku wa, H ga Dekinai Dan Doh Dance in the Vampire Bund Danganronpa Danshi Koukousei no Nichijou Daphne in the Brilliant Blue Darker Than Black Date A Live Deadman Wonderland DearS Death Note Dennou Coil Denpa Onna to Seishun Otoko Densetsu no Yuusha no Densetsu Desert Punk Detroit Metal City Devil May Cry Devil Survivor 2 Diabolik Lovers Disgaea Dna2 Dokkoida Dog Days Dororon EnmaKun Meeramera Ebiten Eden of the East Elemental Gelade Elfen Lied Eureka 7 Eureka 7 AO Excel Saga Eyeshield 21 Fight Ippatsu! JuudenChan Fooly Cooly Fruits Basket Full Metal Alchemist Full Metal Panic Futari Milky Holmes GaRei Zero Gatchaman Crowds Genshiken Getbackers Ghost -
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. -
3 a Typology of Sumerian Copular Clauses36
3 A Typology of Sumerian Copular Clauses36 3.1 Introduction CCs may be classified according to a number of characteristics. Jagersma (2010, pp. 687-705) gives a detailed description of Sumerian CCs arranged according to the types of constituents that may function as S or PC. Jagersma’s description is the most detailed one ever written about CCs in Sumerian, and particularly, the parts on clauses with a non-finite verbal form as the PC are extremely insightful. Linguistic studies on CCs, however, discuss the kind of constituents in CCs only in connection with another kind of classification which appears to be more relevant to the description of CCs. This classification is based on the semantic properties of CCs, which in turn have a profound influence on their grammatical and pragmatic properties. In this chapter I will give a description of CCs based mainly on the work of Renaat Declerck (1988) (which itself owes much to Higgins [1979]), and Mikkelsen (2005). My description will also take into account the information structure of CCs. Information structure is understood as “a phenomenon of information packaging that responds to the immediate communicative needs of interlocutors” (Krifka, 2007, p. 13). CCs appear to be ideal for studying the role information packaging plays in Sumerian grammar. Their morphology and structure are much simpler than the morphology and structure of clauses with a non-copular finite verb, and there is a more transparent connection between their pragmatic characteristics and their structure. 3.2 The Classification of Copular Clauses in Linguistics CCs can be divided into three main types on the basis of their meaning: predicational, specificational, and equative. -
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. -
Mesopotamian Mythology
MESOPOTAMIAN MYTHOLOGY The myths, epics, hymns, lamentations, penitential psalms, incantations, wisdom literature, and handbooks dealing with rituals and omens of ancient Mesopotamian. The literature that has survived from Mesopotamian was written primarily on stone or clay tablets. The production and preservation of written documents were the responsibility of scribes who were associated with the temples and the palace. A sharp distinction cannot be made between religious and secular writings. The function of the temple as a food redistribution center meant that even seemingly secular shipping receipts had a religious aspect. In a similar manner, laws were perceived as given by the gods. Accounts of the victories of the kings often were associated with the favor of the gods and written in praise of the gods. The gods were also involved in the established and enforcement of treaties between political powers of the day. A large group of texts related to the interpretations of omens has survived. Because it was felt that the will of the gods could be known through the signs that the gods revealed, care was taken to collect ominous signs and the events which they preached. If the signs were carefully observed, negative future events could be prevented by the performance of appropriate apotropaic rituals. Among the more prominent of the Texts are the shumma izbu texts (“if a fetus…”) which observe the birth of malformed young of both animals and humans. Later a similar series of texts observed the physical characteristics of any person. There are also omen observations to guide the physician in the diagnosis and treatment of patients. -
Humbaba Research Packet.Pdf
HUMBABA Research Packet Compiled by Cassi Schiano and Christine Scarfuto CONTENTS: History of the Epic of Gilgamesh Summary of the Epic (and the Twelve Tablets) Character Info on Gilgamesh, Enkidu, and Humbaba Brief Historical Info: Babylon Ancient Rome The Samurai Colonial England War in Afghanistan 1 History of The Epic of Gilgamesh The Epic of Gilgamesh is epic poetry from Mesopotamia and is among the earliest known works of literature. The story revolves around a relationship between Gilgamesh (probably a real ruler in the late Early Dynastic II period ca. 27th century BC) and his close male companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances. The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst of his quest foreshadow the end result: "The life that you are seeking you will never find. When the gods created man they allotted to him death, but life they retained in their own keeping." Gilgamesh, however, was celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishtim.