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Journal articles on the topic 'Gilgamesh in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

Maier, John. "Gilgamesh: Anonymous tradition and authorial value." Neohelicon 14, no. 2 (September 1987): 83–95. http://dx.doi.org/10.1007/bf02094674.

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11

Vanstiphout, Herman L. J., and Dina Katz. "A New Edition of Gilgamesh and Akka." Journal of the American Oriental Society 119, no. 2 (April 1999): 293. http://dx.doi.org/10.2307/606112.

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12

Vulpe, Nicola. "Irony and the Unity of the Gilgamesh Epic." Journal of Near Eastern Studies 53, no. 4 (October 1994): 275–83. http://dx.doi.org/10.1086/373707.

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13

Biggs, Robert D. "The Standard Babylonian Epic of Gilgamesh. Simo Parpola." Journal of Near Eastern Studies 59, no. 3 (July 2000): 217–18. http://dx.doi.org/10.1086/468843.

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14

Pardo, José Gonzalo Rubio, Jorge Silva Castillo, and Jose Gonzalo Rubio Pardo. "Gilgamesh, o la angustia por la muerte (poema babilonio)." Journal of the American Oriental Society 117, no. 2 (April 1997): 378. http://dx.doi.org/10.2307/605515.

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15

Helle. "The Chronotope of the Threshold in Gilgamesh." Journal of the American Oriental Society 141, no. 1 (2021): 185. http://dx.doi.org/10.7817/jameroriesoci.141.1.0185.

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16

Habib, Khalil. "The Epic of Gilgamesh: Death and the Education of a Tyrant." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 15–22. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42484.

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17

Browning, Gerald. "The Epic of Gilgamesh: Bridging the Culture Gap between East and West." International Journal of Critical Cultural Studies 11, no. 2 (2014): 53–62. http://dx.doi.org/10.18848/2327-0055/cgp/v11i02/43733.

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18

Abusch, Tzvi. "The Development and Meaning of the Epic of Gilgamesh: An Interpretive Essay." Journal of the American Oriental Society 121, no. 4 (October 2001): 614. http://dx.doi.org/10.2307/606502.

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19

Foster, Benjamin R., and Hans Hirsch. "Gilgamesch-Epos und Erra-Lied: Zu einem Aspekt des Verbalsystems." Journal of the American Oriental Society 123, no. 3 (July 2003): 650. http://dx.doi.org/10.2307/3217759.

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20

Lanoue, Guy. "Le rêve de Gilgamesh. Les signes du droit de cuissage et de la succession." Anthropos 111, no. 2 (2016): 553–74. http://dx.doi.org/10.5771/0257-9774-2016-2-553.

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21

Kline, Jim. "The Oldest Story, the Oldest Fear, the Oldest Fool: The Religious Dimension ofThe Epic of Gilgamesh." Jung Journal 10, no. 2 (April 2, 2016): 24–36. http://dx.doi.org/10.1080/19342039.2016.1157411.

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22

Azize, Joseph. "WRESTLING AS A SYMBOL FOR MAINTAINING THE ORDER OF NATURE IN ANCIENT MESOPOTAMIA." Journal of Ancient Near Eastern Religions 2, no. 1 (2002): 1–26. http://dx.doi.org/10.1163/156921202762733860.

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AbstractThere is found in the ancient art of Mesopotamia an enigmatic bearded hero who appears in several attitudes, but often wrestling wild animals. An analysis of the art demonstrates that this figure is a guardian of the natural order. It is now known that the figure is not Gilgameš, as was once thought, but a ''lahmu'' (singular), and that the lahmū (plural) as a class, are the servants of the god Enki. The material considered here reveals a consistent outlook wherein the universe is viewed as being in a dynamic, but not invulnerable, equilibrium. Everything has a place, or better, a latitude, and when it lives and dies within its latitude, balance is maintained. Paradoxically, the appetite of creatures to dominate and prevail over other forms of life was admitted as a legitimate factor in the equation of the universe. Every striving has both a natural scope and a natural limit. The art work in question comprises, as it were, a prayer in pictures that the limits be maintained. From all this a concept of nature implicitly emerges: it is the field wherein gods, demi-gods, humans, animals and plants all struggle to sustain their existence. It is, among other things, where animals and human consume, and protect their own resources from being consumed. The wrestling motif is significant in these art works. With few exceptions, the bearded hero wrestles, rather than stabs, wild beasts attacking domestic animals. Implicitly, it propagates the view that struggle is necessary to maintain the natural balance. Wrestling (checking), not slaying, represents the appointed way to maintain order against the threat of the wild. The wrestling hero thus maintains a ''co-existence of contraries''. Wrestling an opponent allows for the opponent to be subdued without being destroyed. The topic is large, and naturally opens onto other questions. It is necessary to limit the paper, and I have done so in three ways: in time, geography and artistic material. In time, and geographically, I concentrate on Early Dynastic Sumer. I restrict my consideration of the artistic material to the art of cylinder seals, and even then discuss only a selection of the available seals.

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23

Keetman, Jan. "Der Kampf im Haustor. Eine der Schlüsselszenen zum Verständnis des Gilgameš‐Epos." Journal of Near Eastern Studies 67, no. 3 (July 2008): 161–73. http://dx.doi.org/10.1086/591745.

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24

Farber, Walter. "Das Gilgamesch-Epos: Neu übersetzt und kommentiert von Stefan M. Maul. Munich: C. H. Beck, 2005. Pp. 192. € 19.90." Journal of Near Eastern Studies 70, no. 1 (April 2011): 106–7. http://dx.doi.org/10.1086/658841.

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25

Podany, Amanda. "Gender and Aging in Mesopotamia: The Gilgamesh Epic and Other Ancient Literature. By Rivkah HarrisNorman: University of Oklahoma Press, 2000 and 2003. Pp. 304 + 4 figs. $24.95." Journal of Near Eastern Studies 67, no. 4 (October 2008): 293–95. http://dx.doi.org/10.1086/596076.

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26

"Gilgamesh, o la angustia por la muerte (poema babilonio). Jorge Silva Castillo." Journal of Near Eastern Studies 57, no. 2 (April 1998): 148–50. http://dx.doi.org/10.1086/468630.

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