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Academic literature on the topic 'Gilgamesh in art'
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Journal articles on the topic "Gilgamesh in art"
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Richey, Madadh. "Goliath among the Giants: Monster Decapitation and Capital Display in 1 Samuel 17 and Beyond." Journal for the Study of the Old Testament 45, no. 3 (February 12, 2021): 336–56. http://dx.doi.org/10.1177/0309089220950348.
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A single verse near the conclusion of 1 Samuel 17 mentions that after defeating Goliath, David took the giant’s severed head to Jerusalem (1 Sam. 17.54). The present paper argues that this text’s communicating of David’s preeminence through his act of decapitation draws on the widespread understanding of heads as uniquely powerful and vulnerable, while triumph over a giant or monstrous body casts the future Israelite king as uniquely dominant over monstrous enemies at the physical extreme. Narratives of monster-combat that center an adversary’s head and its subsequent display are widespread; the present paper discusses the Gilgamesh/Ḫumbaba and Perseus/Medusa narratives, with their corresponding visual art manifestations, to show how the biblical allusion to monstrous capital display functions socially and literarily to constitute David’s power.
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Mironov, Arseny. "VALUE OF ACTIVE COMPASSION IN THE HEROIC EPIC: RUSSIAN EPIC CONCEPT." Проблемы исторической поэтики 19, no. 2 (May 2021): 7–32. http://dx.doi.org/10.15393/j9.art.2021.8842.
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The article uses the comparative historical method to analyze epic folklore from around the world with regard to the functioning of the concept of active compassion. Proceeding from extensive factual material, the author demonstrates that different national and civilizational traditions imply various interpretations of this concept. While The Epic of Gilgamesh, Homer’s Iliad, and medieval Western European epic songs don’t treat mercy as an axiologically important principle, the folk epics created by the Orthodox peoples maintain its value in accordance with the Christian ideal of sacrificial love. This interpretation is clearly presented in the Byzantine epic poem Digenes Akritas, in Serbian heroic songs, and, especially, in Russian bylinas, where one of the main heroes, Ilya Muromets, is very often motivated precisely by compassion. The author’s observations suggest that the concept of mercy, organically inherent in Russian folk epics, influenced the subsequent literary tradition as well, being reflected, for instance, in the poetics of the Russian psychological novel.
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Al-Bahloly, Saleem. "The Persistence of the Image: Dhākira Hurra in Dia Azzawi's Drawings on the Massacre of Tel al-Zaatar." ARTMargins 2, no. 2 (June 2013): 71–97. http://dx.doi.org/10.1162/artm_a_00048.
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This article examines the memory-image in a set of drawings produced by the Iraqi artist Dia Azzawi on the massacre of the Palestinian refugee camp, Tel al-Zaatar, during the Lebanese civil war. It traces the development of this memory-image in Iraq in the 1960s, within a paradigm of the modern artwork established by the work of the artist Kadhim Haidar. Generalizing in modern art a mode of allegory from the poetic tradition of the husayniyyat, that paradigm introduced a philosophy of history in which the past was interpreted as a tradition of tragic forms that could be revived in painting as allegories for articulating the experience of contemporary political violence. Within that philosophy of history, Azzawi drew from the epic, Gilgamesh, a formula for representing injustice, one where a victim is emplotted in a narrative of struggle, such that the forms of the victim double as forms of the aggression from which he suffers. This formula comprised the method of representation in Azzawi's drawings on the massacre at Tel al-Zaatar and in his work throughout the 1970s.
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Heath, Malcolm. "Greek Literature." Greece and Rome 64, no. 2 (October 2017): 182–87. http://dx.doi.org/10.1017/s0017383517000080.
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I began my last set of reviews by expressing doubts about the speculative literary prehistory in Mary Bachvarova'sFrom Hittite to Homer(G&R64 [2017], 65). Near Eastern antecedents also feature in Bruno Currie'sHomer's Allusive Art. Currie displays more methodological awareness and more intellectual suppleness: he recognizes the possibility of parallels arising independently (213–15), but denies that his examples can be coincidental, while acknowledging that this confronts us with a ‘glaring paradox’ (217). To be fair, he has a point in this instance, and in many of his other case studies; and his overarching argument is beautifully conceived. On the debit side of the account, there are methodological tautologies: that we should accept conclusions if there is ‘sufficient warrant’ (29) or the evidence is ‘sufficiently compelling’ (174), and not bring charges ‘too quickly’ (32), follows from the meaning of ‘sufficient’ and ‘too’. Adverbial IOUs of indeterminate creditworthiness like ‘arguably’ (×45) are not an adequate substitute for arguments (cf.G&R63 [2016], 235). ‘Of course’ (×50) is superfluous if it refers to what is genuinely a matter of course, and misleading if not. And, of course, Currie's use of scare quotes is arguably too extravagant. Some weaknesses are more substantive. For example, when trying to determine theIliad’s relation to a hypothetical antecedent (designated ‘*Memnonis(Aethiops)’), Currie maintains that ‘the short life of Achilleus arguably [!] has the status of “fact” [!] because the audience knows – through familiarity with an earlier version – which way Achilleus is ultimately going to make up his mind’ (62). Regardless of their familiarity with any hypothetical earlier version, the audience of theIliadknows that Achilles' life will be short because theextantversion establishes it as a fact when it makes this a presupposition of the exchange between Achilles and Thetis (Il.1.352, cf. 416–18, 505–6). From 9.410–5 we might infer that what is presupposed in Book 1 results from Achilles' prior choice: if so, the change of mind implied in his answer to Odysseus is implicitly retracted in his response to Ajax (650–5). ‘The choice that Achilleus is actually going to make only after the death of Patroklos' (62) had therefore already been made. It is disappointingly reductive to say that ‘Diomedes plays out the part of Gilgamesh in this episode ofIliadV, but for this part of theIliadDiomedes serves as a “stand-in” [!] for Achilleus, and Achilleus in theIliadmore widely plays out the part of Gilgamesh’ (197): Homer's characters are not tokens, and Diomedes is always, and distinctively, himself. The point of puttingOd. 19.96–604 alongside an alternative version manufactured to be parallel but different (47–55) eluded me entirely. ‘I do not see’, says Currie, ‘what is gained by refusing to speak of allusion to a particular poem’ (102). Nor do I; and some of his parallels seemed compelling, however hard I tried to resist. Nevertheless, we must balance the loss in refusing to speak of allusion against the risks of building on foundations that may have too high a proportion of sand. Currie has written a brilliant and subtle book. Its contents will need careful sifting.
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Ellis, Richard S. "The trouble with “Hairies”." Iraq 57 (1995): 159–65. http://dx.doi.org/10.1017/s0021088900003053.
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Of all figures seen in Mesopotamian art, the naked or kilted human male figure with curls of hair on either side of his face is one of the most familiar. A form of this figure was portrayed already in the Jemdet Nasr period; he became common in Early Dynastic III, and particularly in the Akkadian period, after which he was less popular, though he was revived from time to time, probably until Achaemenid times. Since the early identification with Gilgamesh has been abandoned, he has been referred to by many names: the “six-locked hero”, “wild man”, “naked hero”, or whatever. Long ago Erich Ebeling cited evidence that his Akkadian name was talīmu, the “twin”. F. A. M. Wiggermann, in his article “Exit talim!”, and later in his valuable book Mesopotamian Protective Spirits, has argued that this familiar figure was instead referred to in Akkadian, at least in the first millennium B.C., as laḫmu, the “hairy one”, the “Hairy”. This identification has been accepted by numerous other scholars.Wiggermann presents the following evidence for his identification (listed from the most general to the most specific, rather than in Wiggermann's own order):1. Lexical evidence to show that the root lḫm means “to be hairy”, and that the noun laḫmu means “the hairy one”.2. Various citations of the noun laḫmu that in general are consistent with the identification.3. A very specific association of the term and the image in the Neo-Assyrian texts which prescribe the preparing of figurines to be buried in houses and palaces for protection against evil spirits. This evidence is the same as was used by Ebeling for his identification of the “wild man” as talīmu, which Wiggermann wishes to discredit.
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Dickson, Keith. "The Wall of Uruk: Iconicities in Gilgamesh." Journal of Ancient Near Eastern Religions 9, no. 1 (2009): 25–50. http://dx.doi.org/10.1163/156921209x449152.
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Abstract"The Wall of Uruk: Iconicities in Gilgamesh". This article examines the invitation in the SV prologue to Gilgamesh (I 1-28) as a device to engage the reader in a series of iconic acts that aim to preserve heroic glory. Since two artifacts in particular—the wall of Uruk and the inscribed tablet—mediate these acts, I investigate the nature of artifacts in general in the poem, and specifically focus on three: the corpse of Enkidu, his funeral statue, and the divine fruit in the garden at the end of Tablet IX. These three stand related to each other as a series of iconic representations of the emplacement of life within various bodies. In the context of these representations, the lapis lazuli tablet on which Gilgamesh allegedly inscribes his tale also figures as a kind of body: a relatively permanent one that appropriates the reader's voice through the act of recitation to grant Gilgamesh perpetually renewable life.
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Watson, Howard. "Epic Proportions of Gilgamesh." Architectural Design 77, no. 1 (January 2007): 98–103. http://dx.doi.org/10.1002/ad.406.
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WORTHINGTON, M. "The Babylonian Epic of Gilgamesh." Ancient Near Eastern Studies 41 (January 1, 2004): 223–39. http://dx.doi.org/10.2143/anes.41.0.562929.
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Helle, Sophus. "The Two-Act Structure: A Narrative Device in Akkadian Epics." Journal of Ancient Near Eastern Religions 20, no. 2 (April 16, 2021): 190–224. http://dx.doi.org/10.1163/15692124-12341315.
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Abstract Most Akkadian epics are organized according to the same structure: the narrative arc is divided into two acts, of which the second mirrors and expands the first. The structure has already been observed in Atra-hasis, Enuma Elish, Gilgamesh, and Etana, but the recurrence of the pattern has not previously been noted. The essay explores the widespread application, individual adaptations, and literary significance of this device, noting its presence in nine cuneiform compositions.
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Maier, John. "Gilgamesh: Anonymous tradition and authorial value." Neohelicon 14, no. 2 (September 1987): 83–95. http://dx.doi.org/10.1007/bf02094674.
Full textBooks on the topic "Gilgamesh in art"
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Adler, Mortimer Jerome. The Great Ideas Today - 1986 - Britannica Great Books. Encyclopaedia Britannica, Inc., 1986.
Find full textBook chapters on the topic "Gilgamesh in art"
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Stewart, Jon. "The Epic of Gilgamesh." In The Emergence of Subjectivity in the Ancient and Medieval World, 19–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854357.003.0002.
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Chapter 1 gives a reading of the Mesopotamian The Epic of Gilgamesh. At the outset an account is provided of the historical context of the work in antiquity and its discovery and translation in the nineteenth century. An interpretation is given of the creation of the wild man Enkidu. Parallels are pointed out between this story and that of the Fall in Genesis. The nature of the Mesopotamian gods is also explored in the context of an interpretation of the episode featuring the goddess Ishtar. Angered by Gilgamesh’s rejection of her advances, Ishtar sends the Bull of Heaven to destroy Uruk. Gilgamesh and Enkidu manage to kill it, but only after it has caused much death and destruction. Enkidu insults Ishtar, and she in turn causes his death. Gilgamesh is deeply distraught by the death of his friend and goes in search of a solution to the problem of human mortality. He has many adventures and ultimately finds Utnapishtim, the Mesopotamian Noah, who survives the Flood and is made immortal. An account is given to the parallels of this episode and that of the Flood in Genesis. Utnapishtim tells Gilgamesh about a magic plant that can restore youth. Gilgamesh manages to find it, but he loses it right away to a snake. The story is interpreted as a statement of the finitude and limitations of the human condition.
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Netton, Ian Richard. "Wood and Stone." In Islam, Christianity and the Realms of the Miraculous, 120–57. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748699063.003.0005.
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The proto-miracles here are those associated with the wooden Ark of Gilgamesh and Noah (Nuh). In the Epic of Gilgamesh and the Qur’anic and Old Testament accounts of the Great Flood the Ark is a symbol of salvation.Miracle in this section may be defined as a direct intervention in human affairs by the divinity or an angel.Within the framework of this section the myth of Atlantis is explored in view of its affinities with the universal Flood story. The next section of this chapter is entitled Ark of the Covenant: the Virgin in the House and it surveys and analyses the stone Christian shrine at Walsingham, the Ka‘ba in Mecca and the miraculous events associated with the building of these two shrines, Walsingham by the Lady Richeldis and the Ka‘ba by Adam and/or Ibrahim and Isma ‘il. In the building of both these shrines the figures of the Angel Gabriel (Jibril), other angels and the Virgin Mary (Maryam) figure powerfully.
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Stewart, Jon. "The Hebrew Bible." In The Emergence of Subjectivity in the Ancient and Medieval World, 47–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854357.003.0003.
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Chapter 2 presents an account of the nature of the Old Testament or the Hebrew Bible. This includes a brief analysis of its historical context, tradition, and authorship. It treats a few episodes from the beginning of Genesis, specifically, the Creation, the Fall, the Tower of Babel, and the Flood. Comparisons are made with similar stories in The Epic of Gilgamesh. An interpretation is given of the Hebrew anthropology as it appears in the account of the creation of humans and original sin. It is argued that this is the story of how humans first separated themselves from nature and became self-conscious. The second half of the chapter gives a reading of The Book of Job. This story raises similar questions to those found in Gilgamesh about the issue of divine justice. An account is given of the different layers of the text and the different views of its authors. Both works represent a human protest against the divine and the nature of the universe, where humans suffer and die.
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Currie, Gregory. "Fiction, mentalizing, and planning." In Imagining and Knowing, 112–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199656615.003.0008.
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Fiction has a remarkable degree of focus on the mind: the beliefs, desires, intentions, and feelings of its characters, and especially the ways their minds interact, understanding or misunderstanding one another, sharing feelings of intimacy, divided by conflicting desire, united in a common cause. This chapter focuses on the representation in fiction of the ways mental states interconnect and their consequences for action. Two works of ancient literature are picked out as puzzling in this regard: the Iliad and the Gilgamesh epic. It ends with a response to the idea that, on Darwinian grounds, fiction’s close connection to the imagination makes it likely that it is in some way a good source of knowledge. It is argued that there are a number of plausible accounts consistent with Darwinian ideas which are not supportive of the idea that fiction is a source of knowledge.
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"Chapter Thirty-Two. The Eyes Have It: Votive Statuary, Gilgamesh’S Axe, And Cathected Viewing In The Ancient Near East." In On Art in the Ancient Near East Volume II, 431–60. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004174993.i-542.62.
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Carr, David M. "Precursors to the Eden Narrative (Gen 2:4b–3:24)." In The Formation of Genesis 1-11, 30–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190062545.003.0003.
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This chapter offers a diachronically informed synchronic reading of the Garden of Eden story (Gen 2:4b–3:24) as a complex meditation on a mix of themes surrounding human identity and mortality that are well attested in Mesopotamian literary texts. Where some scholars (including the present author) have been inclined to see Genesis 2–3 as formed out of distinct literary levels focusing on wisdom and (later) mortality, this chapter argues on the contrary that these themes cannot be separated in Genesis 2–3—that numerous integral components in the Eden story (e.g., the snake) relate to both, much as earlier Mesopotamian traditions (especially the Gilgamesh and Adapa epics) reflect on how humans might have godlike rationality but have no access to godlike immortality. In addition, there are signs that key elements of Genesis 2–3 may have originated from its being loosely modeled on the structure and emphases of an earlier oral tradition about brotherly fratricide that is more closely reflected in Gen 4:1–16.
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Milner, Andrew, and J. R. Burgmann. "Ice, Fire and Flood: A Short Pre-history of Climate Fiction." In Science Fiction and Climate Change, 1–22. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0001.
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This chapter argues that catastrophic climate change fictions have been organised around three main tropes: the new ice age, the burning world and the drowned world. Of these, only the last has a deep history in the Western mythos, dating back to stories of a Great Flood in Genesis and the Epic of Gilgamesh. When modern science fiction (SF) began to take shape in the early nineteenth century, it inherited a preoccupation with the Flood from its parent cultures, for example, Mary Shelley’s The Last Man, Richard Jefferies’s After London and Jules Verne’s Sans dessus dessous. This flood motif continued to be important in American pulp SF. Cooling and warming are more recent preoccupations, dating from the widespread acceptance of ice age theory and greenhouse theory in the late nineteenth century. For most of the twentieth century both science and SF were more interested in cooling. But in the closing quarter of the twentieth century and the first decades of the twenty-first, widespread scientific concern that anthropogenic warming might more than offset longer-term cooling led to the development of contemporary ‘cli-fi’, concerned primarily with the effects of global heating.
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Bodi, Daniel. "The Ziqqurats of Ur and Babylon and the Place Where the Ark Moors After the Flood (The Epic of Gilgameš XI 158)." In Ur in the Twenty-First Century CE, 171–80. Penn State University Press, 2021. http://dx.doi.org/10.5325/j.ctv1g80954.14.
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