The Relationship between King and Prophets in the Ancient Near East and Israel: Focusing on the Comparison of Neo-Assyrian Prophecy and Nathan’s Oracle

2012 ◽  
Vol 44 (4) ◽  
pp. 37-55
Author(s):  
윤동녕
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):  
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):  
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.


2008 ◽  
Vol 58 (3) ◽  
pp. 300-314 ◽  
Author(s):  
J. Blake Couey

AbstractThis study examines the confrontation between the priest Amaziah and the prophet Amos in Amos vii 10-17 against the background of selected ancient Near Eastern texts that deal with royal attitudes toward prophecy. Texts from Mari, Nineveh, and Lachish all provide evidence for the role of royal officials, including priests, in reporting prophecy to the king in the ancient world. In light of this evidence, Amaziah's actions in this narrative appear to be motivated by state interests more than specifically cultic interests, as suggested in the text by his appeal to the royal sponsorship of the Bethel shrine (v. 13). Read in this way, the narrative points to the complexity of the relationship among priests, prophets, and kings in ancient Israel.


2008 ◽  
Vol 58 (2) ◽  
pp. 211-218 ◽  
Author(s):  
Menahem Haran

AbstractSeeing that Ezekiel, with his law code of chaps. xl-xlviii, is connected with P in many characteristics, while, at the same time, they contradict each other in almost any tangible aspect, it is the author's contention that the two are independent manifestation of the same school, of which P is its authentic expression whereas Ezekiel is its loose and later extension. It is out of the question to argue, as was done recently, that Ezekiel saw P and modified it at will. The relationship between P and Ezekiel comprises two aspects, the first of which is the common literary language they share, which in itself calls for explanation. The lack of agreement between the two is the second aspect demanding an explanation, but only if it is assumed that, when formulating his code, Ezekiel had direct access to P. Since Ezekiel used the priestly style as his own, he should have acquired it, after the practice of the Ancient Near East, over the course of many years of training, beginning in childhood and ending up in maturity. This implies that Ezekiel received his training in Jerusalem, while upon his arrival in Babylonia he was already a qualified priestly scribe, and it was there that he became a prophet. It is a vexed question whether the P scrolls were obtainable at all in Tel Abib by the river Chebar.


2021 ◽  
Author(s):  
Hannes D. Galter

The discussions about the use of headscarves and veils shape the living conditions of Muslim women in the Middle East and in Europe to this day. To overcome this situation, a thorough and dispassionate documentation of the cultural history of veiling is necessary. This paper will give a short overview of the long history of veiling and it will deal in detail with five different aspects of this phenomenon and with the various connections between Europe and the Middle East: the relationship between death and the veil in the Ancient Near East; the veil in early Christianity; the hair as an erotic symbol in the Ancient Near East; the traditional costume of the Transylvanian Saxons as a European example of the use of veils and the veil of mystery.


2019 ◽  
Vol 29 (4) ◽  
pp. 593-606 ◽  
Author(s):  
Laerke Recht

This paper examines the concept of animals as social actors in the ancient Near East through a case study of human–equid relations. In particular, examples where equids may be seen as expressing resistance, as depicted in the iconography of the third and second millenniabc, are analysed. The first part of the paper discusses how animals have been perceived in scholarly debates in philosophy, archaeology and human–animal studies. It is argued that an acknowledgement of animals as social actors can improve our understanding of the human past, and the relation of humans to their broader environment. The second part of the paper presents three examples from the ancient Near East where equids may be interpreted as pushing back or resisting the boundaries placed by humans, resulting in a renegotiation of the relationship.


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