By David Konstan, Kurt A. Raaflaub
With contributions from best students, this can be a exact cross-cultural comparability of old epics throughout quite a lot of cultures and time sessions, which provides an important insights into how background is taken care of in narrative poetry.
- The first booklet to achieve new insights into the subject of ‘epic and historical past’ via in-depth cross-cultural comparisons
- Covers epic traditions around the globe and throughout a variety of time periods
- Brings jointly major experts within the box, and is edited by way of across the world looked scholars
- An very important reference for students and scholars drawn to background and literature throughout a wide variety of disciplines
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Extra info for Epic and History (Ancient World)
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W. Cole, and V. G. Gurzadyan. 1998. Dating the Fall of Babylon: A Reappraisal of Second-millennium Chronology. Ghent and Chicago. George, Andrew R. 1999. The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian. New York. ——. 2003. The Babylonian Gilgamesh Epic: Introduction, Critical Edition and Cuneiform Texts. 3 vols. Oxford. Jacobsen, Thorkild. 1939. The Sumerian King List. Chicago. ——. 1989. ” Journal of Cuneiform Studies 41: 69–86. Katz, Diana. 1993. Gilgamesh and Akka.
19 This section summarizes an argument I have made in more detail in a separate discussion of divine kingship in early Mesopotamia (Michalowski 2008). 20 A version of RL was preserved in a Sumero-Akkadian bilingual version in the seventhcentury libraries of Assurbanipal of Assyria, and Enmerkar is occasionally mentioned in later literature, notably in a fragmentary Akkadian language poem that does not seem to have any connection with the Sumerian Uruk cycle (Picchioni 1981: 102–9). References Alster, Bendt.
He makes offerings to the gods, and this is followed by what seems to be a cosmic battle, but the first half of the text is not fully preserved, and the end is unknown at present. When the story picks up in The Return of Lugalbanda (RL), the hero is all alone in the remote mountains, and he decides to find a way out by appeasing the enormous, magnificent creature named Anzu, with the body of an eagle, shark’s teeth, and the head of a lion. The mythic genre-bending character of this being 16 Piotr Michalowski reflects the liminal state that Lugalbanda has found himself in, stuck in the midst of faraway mountains, halfway between life and death, and between the dual civilizations of Uruk and Aratta.