Enuma Elish

Si mostra la stretta correlazione fra la Teogonia di Esiodo e I Ching - Il Libro dei Mutamenti.

La lettura presuppone la conoscenza della Sfera dei Mutamenti descritta nel paper I Ching - La disposizione sferica degli esagrammi.

Estratto dal libro Amore Sacro e Amor Profano disponibile su www.amoresacroeamorprofano.com

Hurdan är situationen som beskrivs i Första Mosebok 1:2. Finns det spår av en kaoskamp? Med kaoskamp avser jag en strid mellan Gud och något slag av kaosmonster. Det finns många forskare som menar att det är så.

Min analys visar att den åsikten saknar grund i en analys av den hebreiska texten.

Sammanställning gjord av: Tore Jungerstam, doktorand inom GT-exegetik vid Åbo Akademi. 2024. För mer av Tore Jungerstams forskning se https://urhistorien.com

Ullikummis sång är ett hurritiskt verk som tillvaratagits av de senare hittiterna. Det ingår i en större cykel och temat för helheten är en kamp mellan Kumarbi och Teshub, stormguden för den konungsliga makten över gudarna.

I det här dokumentet presenterar jag handlingen i Enuma Elish tavla för tavla. Jag använder den svenska översättningen av Enuma Elish som Wikander gjort. Ibland jämför jag med Speisers eller Graysons engelska översättning då det finns intressanta skillnader dem emellan. Min komparativa analys av skapelseberättelsen och Enuma Elish som helhet kan läsas här: https://bit.ly/Skap_Bibeln_2020.

1. The divine in society ………….……………..…..………………..…......................................................... 2
2. Gods of creation and gods of war: Enlil and Marduk; Ashur and Ishtar ……………..…… 4
3. Gods of nature: Adad (storm), Shamash (sun), Nanna/Sin (moon), Enki/Ea ..…….….. 8
4. Personal and Interceding deities …………………...…………………...........................................… 11
5. Heroes and mythological creatures …………………………….........................................…..……. 11
6. Divination and the sense of man’s future ……………………….…….....................................….. 12

Jag gör en komparativ analys av Bibelns skapelseberättelse och Enuma Elish.

Resultatet är överraskande tydligt. Analysen visar entydigt att det finns ingenting som tyder på att skapelseberättelsen har lånat eller bearbetat någonting från Enuma Elish överhuvudtaget.

Arbetet är en bearbetad version av min pro-gradu avhandling vid Åbo Akademi.

Enuma Elish, once widely known as the Babylonian Epic of Creation, is today read primarily as a political narrative rather than a creation myth. While it certainly encompasses a cosmogony of sorts, it chiefly serves to justify the god Marduk’s ascension to divine kingship and, by extension, to establish the legitimacy of Babylon (Marduk’s patron city) as the preeminent city in Mesopotamia. The means by which Marduk secures his rulership has traditionally been understood as follows: Marduk battles and defeats the dreadful female ‘monster’ Tiamat, completing a task that has daunted all Marduk’s potential competitors for kingship, including the gods Ea (Marduk’s father) and Anu (one of his forefathers). Subsequently, in a vividly described account, Marduk structures the cosmos from Tiamat’s corpse. In other words, the composition might yet be said to be structured around a Chaoskampf, a battle against chaos (with Marduk in the role of heroic defender of order and Tiamat in the role of chaos monster), followed by cosmic creation. As I argue in this essay, however, close attention to the individual characters and composition of Enuma Elish suggests the narrative is centered around quite different themes.

“Una reinterpretación lingüística del mito Babel en la literatura. Castigo divino, confusión, deseo de saber”, Valeria Valencia plantea una serie de valoraciones bastante sugestivas que se han realizado de este connotado relato simbólico y sagrado por parte de escritores de la talla de Jorge Luis Borges o Ted Chiang (entre otros), a fin de subrayar la originalidad de sus acepciones y planteamientos estéticos. Basada en las reflexiones conceptuales de George Steiner y Umberto Eco, la autora precisa la vigencia y actualidad de dicho mito, justamente en el momento de comprender que para la literatura y la expresión escrita, en general, las imágenes del pasado siempre están vivas, y un relato antiquísimo como el de Babel abre la puerta a la inventiva y a la imaginación desaforadas, aunque siempre para alcanzar algo en concreto: poner en crisis la aparente objetividad del mundo real.

“Taking seriously, not taking sides”: This statement encapsulates Hans Gerald Hödl’s understanding of Religious Studies as a reflexive, unbiased approach to research that must always acknowledge emic perspectives. The chapter introduces his scholarship and outlines the contributions of the volume dedicated to him and his work. The contributions in this collection engage in disciplinary debates, explore different dimensions of ritual, and offer (religious) philosophical perspectives and aesthetic reflections.

The Babylonian Epic of Creation, also known as Enuma Elish, circulated outside Babylonia for more than a millennium. Various versions of the epic provided the mythological background for cultic rituals in cities stretching from seventh-century BCE Ashur through first-century CE Palmyra to fifth-century CE Edessa. In the third century BCE, the Babylonian priest Berossus wrote a summary of the text that focused on the wondrous and the heroic, to impress an outside audience: the new rulers of the Seleucid Dynasty. The author of the first creation account in the Bible, in contrast, speaking to an inner audience – those who believed in the god of Israel – used the epic as a template for a thoroughly revised version of how the world had come into being. And in yet another take on Enuma Elish, the fifth-century CE philosopher Damascius, apparently drawing on the work of his fourth-century BCE predecessor Eudemus, gave a detailed account of the beginning of the text in order to demonstrate the existence of early eastern analogues for his own conception of the ‘ontological hierarchy’. This essay traces the legacy left by the Babylonian Epic of Creation outside the cuneiform world.

Belus (or Bēlos or Bēlias) is the Latin or Greek rendering of the names of two important Near Eastern gods: Bēl-Marduk, the tutelar deity of the city of Babylon and the head of the Babylonian pantheon from c. 1200 BCE; and Baal, a Canaanite god attested in New Kingdom Egypt, the Levant, and at Ugarit. In Greco-Roman literature, Belus is often treated as an ancestor of various mythological dynasties of the Near East or as the founder of Babylon and Babylonian astronomy.

This article presents first editions of three large manuscripts of the Epic of Creation from the "Sippar Library," and eight smaller fragments from the British Museum's "Babylon" and "Sippar" collections. In addition to restoring several lines of various episodes of the text, they provide an almost complete restoration of the two closing verses of the Babylonian version of the poem.

Excavations of Mesopotamia’s ancient cities have yielded a rich literary corpus that includes a number of works designated as epics, often notable for their length and/or (elevated) style, scope and/or (heroic) themes, and emotional contents and effects. This chapter explores some of the ways in which the analyses of these works have been shaped and constrained by early developments in the history of Near Eastern studies, which established Mesopotamia and its cultural products as ancillary to biblical studies, as well as by later nineteenth and early twentieth century trends in literary analysis. It goes on to explore methodological approaches focusing on narrative construction and characterization, which have the potential to yield compelling new readings of some of the best known and most powerful of Mesopotamia’s ancient epics.

1. Kreation ex nihilo ............................................... 1
2. Die Gottheiten Apsú und Tiamat ....................... 2
3. Himmel (An) und Erde (KI) .................................3
4. Negative Theologie ............................................ 4
5. Vergangenheit und Zukunft ............................... 4

This paper attempts to study the composition techniques of the Book of Wisdom considered in a wider hellenistic literary context. In a somewhat anachronistic way one could call Wisdom a 'pastiche' of the Septuagint. Pastiche presupposes a deliberate literary imitation with specifically aesthetic aims. In a limited sense, this is true of Wisdom, which offers an artful remake of the Septuagint language and style.

Jona bok är mycket dramatiskt och färgstarkt berättad och innehåller en del intressanta litterära finesser. Jag prioriterar den hebreiske författarens färgstarka språk framom en så modern svenska som möjligt.

Jag skriver också om en del av de intressanta litterära finesser som finns i boken.

This paper argues that Ecclesiastes criticizes eschatological and apocalyptic ideas. Furthermore, it explores the seemingly problematic relation of Ecclesiastes' theology regarding the priestly temple cult. A general overview on biblical wisdom tradition, apocalyptic thought and the priestly led temple cult is given to establish a background for the exegetical discussion and examination of two selected paragraphs. These are compared with other similar passages of the book to support the hypothesis that Qohelet's dialogue with himself contains a polemic message against both the ideology of apocalyptical literature and the temple cult.

Hur ska man förstå trädet i Edens mitt - kunskapens träd - gott och ont. Jag går kort igenom vilka förslag som är vanliga i forskningen och till sist ger jag min tolkning av vad trädet kan avse

Det är ett kort utdrag från mitt arbete om Edenberättelsen

Jag analyserar hur den hebreiska texten harmonierar med den analys som dokumenthypotesen förfäktar. Mitt resultat är att den hebreiska texten inte harmonierar överhuvudtaget med vad som förväntas.

Bland annat är ett problem att det som tillskrivs J har i regel typiska kännetecken för P och vice versa.

Detta är ett utdrag från det här arbetet:

Flodberättelsen i GT och Gilgamesheposet. En komparativ analys
Hur förhåller sig flodberättelsen i GT till de mesopotamiska
flodberättelserna

1. Einleitung ……………………………………………..………………….....................……. 1
II. Die Entstehung des Uruniversums ……………………………............……………  2
III. Die Mythologie von Vater Himmel und Mutter  …….…………....………..  5
IIIa. Frühdynastische Periode (Mitte bis drittes Jahrtausend)……......... 5
IIIb. Ur III. Periode (spätes drittes Jahrtausend) ……………………. 6
IIIc. Altbabylonische Zeit (frühes zweites Jahrtausend)……………............ 6
IIId. Akkadische Texte in Kopien des ersten Jahrtausends ….........……… 7
IV. Das babylonische Schöpfungsepos …………………….……………….......….. 9

1. Introduction ……………………………………………………..................……. 1
II. The emergence of the primeval universe ………………….....………  2
III. The mythology of Father Sky and Mother Earth ……………….  4
IIIa. Early Dynastic period (mid-third millennium) ..………............ 4
IIIb. Ur III period (late third millennium) ………………..……. 5
IIIc. Old Babylonian period (early second millennium)…........….. 5
IIId. Akkadian texts in first-millennium copies …………...............… 6
IV. The Babylonian Epic of Creation …………………….………….......... 7

Babylon's merit was to stop the Flood by marduk in the ancient times.  However, the real cause of the lower level of the floods  was  the Cainosoic Ice Age. Although, it is a warm - up - transitional - period, but we are in a middle of an Ice Age, as was in the ancient times.Marduk had to face a 'less stronger' tiamat, than before (e.g., gilgames' story).

. Abstract     2
2. Einleitung               2
3. Literaturrecherche     4
4. Name und Bilder des Gottes Nergal               6
5. Geschichte der Entstehung des Gottes Nergal               7
6. Die erste Übertragung von Nergal                 9
7. Nergal als Unterweltgottheit       10
8. Erra und die Sebetti               11
9. Attribute und Beinamen von Nergal               11
10. Die astrologische Bedeutung von Nergal   12
11. Mars nach hellenistischen Astrologen                           14
12. Ares und Nergal                                                                           16    
13. Herakles, Melkart und Nergal         17
14. Schlussfolgerung   19

(roi de Babylone de 1125 environ à 1104 av. J.-C) campagne en Mésopotamie du Sud-Est, l'actuelle Iran méridionale, au milieu de grandes plaines sous la pression de pouvoirs élamites et des impulsions de leur capitale Suse qui tente de s'imposer en Babylonie sans y parvenir. A l'époque akkadienne de la fin du III ème Mil. on portait un intérêt certain à exposer ses trophées de batailles dans des chambres-musée d'exposition ouverte aux publique. A Suse, Nabuchodonosor y négocie la statue de Marduk dit-on en échange de détenus élamites. Il en fait le symbole de l'affirmation de son pouvoir et de son gouvernement et décide de lui établir un temple particulier selon la tradition cultuelle. Il fait rédiger un nouveau texte théologique par ses scribes à cette occasion dont les historiens Jean Bottéro et Samuel Noah Kramer publieront la traduction en 1988 intitulé ''Lorsque les Dieux faisaient l'Homme, mythologie mésopotamienne'' chez Gallimard. Ils fournissent un corpus original, qui n'avait pas d'égal avant dans la tradition mésopotamienne. Marduk apparaît dans un principe théogonique d'eaux douce signifiant le masculin et d'eaux salées le féminin, des divinité qui reprennent forme à la fin du II ème Mil. av.n.è. .Cela fait environ sept siècles que l'écriture scribale se consacre à la sacralisation sans que n'apparaisse une oeuvre de la cosmogénèse jusque là, ni une vraie théogonie théomachiste .

In a recent article the author has shown that Pegasus' appearance in Greek astronomyas a Flying Horse severed at the naveldisplays a one-to-one correlation with wordplay encrypted in its older, Mesopotamian title as the "Field". The current article expands on this idea, demonstrating that additional wordplay encrypted in the cuneiform terms for the Mesopotamian "Field" constellation embodied in the Pegasus Square and an adjacent star-figure imparted the words: "Medusa ('Ruling'), Perseus, cutoff , her, skull, leaped-forth, Chrysaor ('Golden-Sword'), the horse, named, Pegasus ('Springs'), because, he-wasborn, near, the springs, of, the god, Ocean",words which mirror the creation story of Pegasus in Theogony lines 280-282. Additional puns expose the celestial identity of the Greek god Ocean, while simultaneously disclosing why he was incongruously identified as a "River" in Greek mythology. Cuneiform literature confirms that the Mesopotamian astronomer was a "writer" whose overarching precept held that the constellations comprised a sacred "text" that imparted inviolable wisdom through the medium of wordplay. Archaeological and textual data insinuates that this Mesopotamian celestial conviction was transmitted directly into the Hellenic cultural sphere in the eight century BC. And circumstantial evidence implies that the first author to mention Pegasus, Hesiod, was directly or indirectly familiar with this Mesopotamian astronomical arcana prior to writing Theogony. The author's conclusion argues that the aforementioned Mesopotamian celestial esoterica allowed Hesiod, or someone collaborating with him, to decipher the strand of puns that explained Pegasus' mythical "Birth" story, which he then rendered into Greek as lines 280-282 of Theogony.

Det här är min språkligt uppdaterade översättning av Skapelseberättelsen.
Det är en unik skapelseberättelse som är berättad med litterär briljans.

Den finns även inläst på YouTube: https://bit.ly/Skapelsetext
Annat material om urhistorien hittas här: www.urhistorien.com

1. Abstrakt................................................................................................... 1
2. Einleitung................................................................................................. 2
3. Die Sibitti und Hintergründe des Finsternis-Mythos ………….........……..… 3
4. Die Sibitti und das Pantheon ................................................................. 5
5. Mythos der Mondfinsternis als königliche Entschuldigung ................. 8
6. Variationen in Sibitti und Mondfinsternis-Traditionen ………………......... 13
7. Schlussfolgerung ................................................................................... 14

1. Abstract ………………………………………………..............…….... 1
2. Introduction …………………………………………..............……... 2
3. The Sibitti and Background of the Eclipse Myth ..… 2
4. The Sibitti and the Pantheon …………………...........…….. 4
5. Lunar Eclipse Myth as Royal Apology ……….......…..… 6
6. Variations in Sibitti and Lunar Eclipse Traditions … 11
7. Conclusions ………………………………………………..............… 12

Enuma Eliş / Vaktiyle Üstte 7 kil tablet üzerine yazılmış. Binden biraz fazla satırdan oluşur. İlk fragmanlar 1848 il 1876 yılları arasında Austen H. Layard, Hormuzd Rassam ve George Smith tarafından Kral Asurbanipal'in Ninovadaki kütüphanesinin yıkıntıları arasından bulunmuş. Öykünün özeti şu şekilde İlk tanrısal ana baba Apsu ve Tiamat ve oğulları Mummu'dan başka hiçbir şeyin bulunmadığı zamanlardan bahseder.

Título derivado das palavras que abrem o poema: "Quando no alto...". Preservado em 7 tabletes de argila, de origem assíria (séculos IX-VII A.E.C.) e babilônica (século VII-IV A.E.C.), cada uma contendo de 130 a 170 versos. Especula-se que a narrativa tenha sido composta no governo de Nabucodonosor I (c. 1125-1104 A.E.C.). A narrativa foi descoberta em 1849 por Henry Layard (1817-1894), nas ruínas da antiga biblioteca de Assurbanípal (c. 685-c. 631 A.E.C.), em Nínive, antiga capital do império neoassírio (669-631 A.E.C.), atual Mossul (norte do Iraque). Foi traduzida e publicada em 1876 por George Smith (1840-1876). O texto narra "as origens do universo, o combate dos deuses organizadores do mundo contra as forças do caos, representadas pelas águas primordiais-Apsû, as águas doces e Tiamat, as água salgadas, que no início dos tempo formavam um todo indiferenciado" (POZZER, 2020, p. 340) ENÛMA ELIŠ, A "EPOPEIA DA CRIAÇÃO" (SÉCULO XII A.E.C.

1. Abstract                   2
2. Introduction                 2
3. Literature review           4
4. Name and images of the god Nergal         5
5. History of the formation of the god Nergal         7
6. The first transmission of Nergal                 8
7. Nergal as an underworld deity         9
8. Erra and the Sebetti                 10
9. Attributes and epithets of Nergal                 10
10. The astrological meaning of Nergal         11
11. Mars according to Hellenistic astrologers                13
12. Ares and Nergal             14
13. Herakles, Melqart, and Nergal       16
14. Conclusion                 17

1. Preface ………………………………………………........................................ 1
2. The Edges of the Earth ………………….………….................................1
3. Of Animals, Trees, and Insects: Iconography of the
Eastern Horizon ……………………………………………….............................…... 2
4. Gilgameš …………………………………………………...............................….. 4
5. The Babylonian oikoumenē ‘Known World’, Immortality, and
the Path of the Sun ………………………………………...............................……. 6
6. Creation and the Space-Time Metaphor ……………………....………… 8
7. The Future and the Bourne of the Unknown ………………….……..… 9
8. The Cutting of Fates and Judgments on the Horizon …………… 10
9. The Saw of Šamaš ……………………………….……………......................... 11
10. The Cosmography of Birth ……………………………………….............……. 11