Enki and Ninhursanga Part One, The story of Dilmun. (original) (raw)
Nīlakaṇṭha Dīkṣita's Poetic Manifesto
Nīlakaṇṭha Dīkṣita's Poetic Manifesto, 2023
Nīlakaṇṭha Dīkṣita’s style and wit grant him a special place in the pantheon of Sanskrit authors. His style is often characterised as sarcastic, outspoken and seemingly irreverent, while playing with double entendres which in one way or another always allow him to stay, not stray, in the groove of orthodoxy. Unfortunately, he seems to have never composed a treatise on poetics, although it might seem natural for him to have done so. In this essay, I propose to read certain passages from Nīlakaṇṭha's oeuvre and treat them as a poetic manifesto, following Ariav's agreeable formulation, and to consider looking at Nīlakaṇṭha himself under a different light—not only as a satirist, but as virtuoso.
The Sexual Union of Enlil and Ninlil: an uadi Composition of Ninlil
Zeitschrift fur Assyriologie, 2019
This article offers an edition of the newly reconstructed collective tablet N 1045+, which preserves portions of a zamzam song of Enlil and an uadi song of Ninlil. The latter composition describes a sexual encounter between Enlil and Ninlil similar to the famous encounter described between the king and Inana in Iddin-Dagan A.
The Melammu Project investigates the continuity, transformation and diffusion of Mesopotamian culture throughout the ancient world. A central objective of the project is to create an electronic database collecting the relevant textual, art-historical, archaeological, ethnographic and linguistic evidence, which is available on the website, alongside bibliographies of relevant themes. In addition, the project organizes symposia focusing on different aspects of cultural continuity and evolution in the ancient world.
Encyclopedia of Relgion, 1987
Parallel Stories by Péter Nádas
Neohelicon, 2016
"The greatest novel written in our time, and one of the great books of the century"-said Susan Sontag about The Boolc of Memoirs (1986) by Hungarian novelist Peter Nldas. Parallel Stories (2005) promises and delivers even more; at the expense, though, of challenging its readers even further. In this article I concentrate on the novel's poetic structure; its representation of the individual versus the communal; and one of its deepest organizing principles, human SCDBuality. One of the characteristics that sets this novel apart from contemporary literature is Nadas's use of spatiality. What readers of Western nmatives are accustomed to is a kind of unity that is anchored in the principle of the causal and the temporal. Both are important for Nldas, too, but they simply structure the novel thematically. On a poetic level, the novel's characteristic features are the parallels it contains, and those "structural principles" through which the ingredients interact. It is the ·tension resulting from the metonymic interconnectedness of the (parallel) stories in the book that provides the base of its most fundamental structural coherence. The question and the representation of individuality is another key concern of the novel. Nidas represents the significant dates of 1938, 1960-1961, and 1989 u historical watersheds; at the same time he makes us better understand those aspects of life that are less obviously affected by these historical changes, including the question of individuality. What we find u the core of the individual Nidas calls "the human consistency." Its vessel is the individual human body, sensuality, psyche and memories. The individual is pitted against the communal very effectively in the novel. Its tragic worldview, however, is not due to its view or philosophy of history: it results from its anthropology. The body is the epicenter of the novel: it is by means of writing the body, or more precisely the human fteah, that Nldas shows what it means to be a human animal. The shift of focus from body to fieab is one ofthe senses in which Nidaa breaks with the European humanist tradition. What he cal1.s to our attention is that there is not even the slightest chance to completely comprehend what we, as sensual beings, are nonetheless capable of perceiving. He does not answer the question of whether the world and Jife are knowable or not. What be does do-in an idiosyncratic and innovative way-is to represent both and make us realize that they are perceivable. The result is a very peculiar kind of knowledge: it is both rational and imltional, sensual and intellectuaL pe.rsonal and interpersonal, consci.oua and unconscious, male and female, mythic and scientific, bodily and spiritual, worldly and unworldly.
Entang Wiharso's 'Untold Stories'
Untold Stories, solo exhibition. , 2012
Location: Arndt Gallery, Berlin More Info: Text for the artist's solo exhibition, Arndt Gallery, Berlin (2012). Images are under Copyright. Publisher: Arndt Gallery, Berlin Publication Date: 2012 Publication Name: Untold Stories
"The Story-Cycle in Bavli Nedarim 91a-b," Oqimta 10 (2024), 277-97
This paper analyzes the "story-cycle" in Nedarim 91a-b, focusing on its literary qualities, structure and poetics. Eli Yassif called attention to the story-cycle in rabbinic literature in a pioneering article published in 1990. He argued that sequences of three or more stories appear throughout rabbinic literature and comprise a distinct literary phenomenon. 1 Yassif identified 44 story-cycles overall, with 24 appearing in the Bavli, which contained 228 stories. He sought to understand, "In what manner were the groupings organized and edited, and by what artistic and ideological motivations were they inspired?," and "How can we describe the literary or ideational rationale which led the compiler to collect in one place a given set of tales and none other, in that particular order." 2 In Yassif's view, the story cycle "constitutes a transitional stage" between "two modes of literary expression … from folktale to literary work." The stories, Yassif theorized, originated in disparate settings and were later collected into a literary unit by the compiler of the story-cycle. The rabbinic story-cycle was therefore a precursor of the independent collections of narratives compiled in the Middle Ages such as Ḥibbur Yafeh Mehayeshua [An Elegant Composition Concerning Relief after Adversity] and Sefer Hama'asim [The Book of Exempla]." 3