Allusions and Illusions

2019 ◽  
pp. 193-208
Author(s):  
Melissa Eppihimer

The visual legacy of Akkadian kingship in Mesopotamia was the product of a series of individual engagements with Akkadian images and memories that collectively suggest a shift over time from direct engagement with Akkadian models to mediated access to Akkadian models. Beyond consolidating the ideas presented in earlier chapters, chapter 6 opens up further lines of inquiry into the relationship between cultural memory and images in the ancient Near East. First, memories of the Akkadians in Hittite Anatolia raise the possibility of a visual legacy in Hittite art. Second, the Akkadian legacy is compared to the legacy of the Ur III kings. In the latter, a set of late Neo-Assyrian “basket-bearer” steles display interpictorial links to Ur III foundation figures.

2007 ◽  
Vol 4 (2) ◽  
pp. 133-161 ◽  
Author(s):  
IAIN STANNARD

AbstractThe terms ‘arrest’ and ‘movement’, deployed by Tippett in his Third Symphony (1970–2) as part of what Kemp defines as a ‘dialectic of strong contrasts’, were in fact significant at an earlier stage of the composer’s output. Some ten years previously Arrest and Movement appears as a possible title for his Second Piano Sonata in the pencil manuscript of the work. Tippett’s notebooks further reveal how these two categories determined the formation of two distinct types of temporality in the piece: one halting or stuttering, the other flowing. Art critic Henriette Groenewegen-Frankfort’s book Arrest and Movement: an Essay on Space and Time in the Representational Art of the Ancient Near East, which was published in 1951 and which Tippett is known to have read, uses these terms to explore the relationship between spatial and temporal representation. This prompts investigation of the arrest–movement dialectic in Tippett’s Sonata along analogous lines, analysing structure, balance, and use of quasi-spatial proportions. The two threads converge by means of the criterion of ‘monumentality’, a term Groenewegen-Frankfort uses to describe works of particularly effective balance. While critical evaluation of the Sonata might suggest that this work itself falls short of ‘monumental’ stature, it is arguable that Tippett was able to carry forward lessons learned to works of his later œuvre (such as his Fourth Symphony), which do indeed approach this status.


Author(s):  
Joshua A. Berman

The conclusion argues that to renew the field of Pentateuchal criticism—indeed, the historical-critical paradigm in biblical studies more broadly—historical-critical scholars will need to adopt three new priorities in their work. The first is an epistemological shift toward modesty in our goals and toward accepting contingency in our results. The second is a far greater understanding of the rhetorical and compositional practices of the ancient Near East as we adduce notions of what constitutes a fissure in a text and how the biblical texts grew over time. Finally, scholars will need to ground their compositional theories in a new level of linguistic and stylistic analysis, which is now available through the recently launched Tiberias Project: A Web Application for the Stylistic Analysis and Categorization of Hebrew Scriptures, directed by the author of the book, Joshua Berman, and the computational linguist, Moshe Koppel.


2014 ◽  
Author(s):  
Jack M. Sasson

Profound changes have occurred in the study of early Israel over the past four decades. In recent years, the pendulum of scholarship has swung toward literary and theological readings that are not significantly informed by the literature of the ancient Near East. Jack M. Sasson’s commentary to the first twelve chapters of the book of Judges is a refreshing corrective to that trend. It aims to expand comprehension of the Hebrew text by explaining its meaning, exploring its contexts, and charting its effect over time. Addressed are issues about the techniques that advance the text’s objectives, the impulses behind its composition, the motivations behind its preservation, the diversity of interpretations during its transmission in several ancient languages, and the learned attention it has gathered over time in faith traditions, Jewish, Christian, and Muslim. In its pages also is a fair sampling from ancient Near Eastern documents to illumine specific biblical passages or to bolster the interpretation of contexts. The result is a Judges that more carefully reflects the culture that produced it. In presenting this fresh translation of the Masoretic text of Judges as received in our days, Sasson does not shy away from citing variant or divergent readings in the few Judges fragments and readily calls on testimonies from diverse Greek, Aramaic, and Latin renderings. The opinions of Jewish, Christian, and Muslim sages are reviewed, as are those of eminent scholars of recent times. With his Introductory Remarks, Notes, and Comments, Sasson addresses specific issues of religious, social, cultural, and historical significance and turns to ancient Near Eastern lore to illustrate how specific actions and events unfolded elsewhere under comparable circumstances. This impressive new appreciation of Judges will be of immense interest to bible specialists, theologians, cultural historians, and students of the ancient world.


Author(s):  
ISAAC BOAHENG

Over the years there has been a growing interest in the connections between the Old Testament and other Ancient Near East literature. The Hammurabi Code, a Babylonian legal document which predates the Mosaic Code by about 300 years, is one of the ancient documents that have featured prominently in such comparative studies. The remarkable similarities between the Hammurabi Code and the Mosaic Code raises questions about the originality of the Mosaic Code. Scholars often ask whether Moses copied and/or revised the Hammurabi Code and gave it to Israel as a divinely inspired Law or whether Moses actually received his Law as an original document from God. If Moses plagiarized the Hammurabi Code, then the inspiration of the Mosaic Code and (by extension) the inspiration of the entire Hebrew Scriptures is in doubt. The relevance of this textual and source issue for Old Testament scholarship has prompted the present study which aims at investigating the relationship between the Mosaic Code and the Hammurabi Code through a comparative study. After a critical assessment of the key similarities and differences between these two ancient documents, the paper suggests keys factors that might have accounted for the similarities and the proceeds to contend for the originality and authenticity of the Mosaic Code. Keywords: Ancient Near East, Hammurabi Code, Mosaic Law, Old Testament, Plagiarism


Author(s):  
Michael Jursa ◽  
Sven Tost

This chapter surveys the evidence for dependent labour in the Ancient Near East, particularly in the state or institutional sector of the economy, comparing the findings to pertinent institutions and structures known from the Graeco-Roman world. There is a focus on diachronic change within the Ancient Near East, where the role of dependent labour evolved significantly over time. The chapter highlights similarities as well as differences and points to some pathways for causation. The ‘traditional’ image (often associated with views expressed by Moses Finley) of the Ancient Near East as being characterized by a labour regime relying nearly exclusively on compelled dependent (but not slave) labour and thus being fundamentally different from ‘the’ Graeco-Roman world is nuanced considerably.


Author(s):  
Melissa Eppihimer

The Akkadian kings (ca. 2334–2154 BCE) created the first territorial state in the ancient Near East and were remembered as model kings for more than two millennia thereafter. Exemplars of Kingship: Art, Tradition, and the Legacy of the Akkadians evaluates how later rulers engaged with Akkadian visual models and memories of Akkadian kingship in their own images. Through analyses of post-Akkadian victory monuments, votive statues, cylinder seals, and other works of art, the book explores the intersection of visual traditions and cultural memory in ancient Mesopotamia. Exemplars of Kingship also deconstructs the modern reception of Akkadian art to reveal its impact on our perception of ancient responses to Akkadian art and kingship.


Author(s):  
Susan Helft

Scholarship on the ancient Near East has not yet considered how the formation of a discrete set of objects and monuments has shaped our understanding of Anatolian civilizations. This chapter explores this issue by “testing” the canon of ancient Anatolian art and archaeology, with a focus on art. What is the canon, how was it formed, and does it meet the needs of today’s art historians and archaeologists? This exercise makes clear that the lists of Anatolian objects and sites chosen for modern consumption are the result of Mesopocentric viewpoints on the one hand, and of Turkish nationalist agendas on the other. For the canon of ancient Anatolia to more accurately represent the diversity of Anatolian cultures, the current canon needs to shed its Mesopotamian baggage and be more geographically and typologically inclusive. This chapter also advocates for a move away from comparisons between canons (which have contributed to a derivative view of ancient Anatolian art) and toward a thematic view. A case study on the topos of the hunt is meant to reset the relationship between the Anatolian and Mesopotamian canons and demonstrate the potential for more conceptual approaches to reinvigorate the canon for the future.


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