A Hymn to Inanna and Her Self-Praise

Sjöberg, Åke W.

doi:10.2307/1359660

Cited by 7 publications

(4 citation statements)

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“…79-84;Kramer 1981, pp. 1-9;Scurlock 1988;Wolkstein and Kramer 1983). This violently explosive behavior is often related to traits traditionally considered masculine: her love of battle, which is frequently referred to as her playground, and her desire for conquest (Black and Green 1992, p. 109).…”

Section: Inanna Participants and Performancementioning

confidence: 99%

Potnia’s Participants: Considering the Gala, Assinnu, and Kurgarrû in an Aegean Context

Pareja

2024

Arts

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The wall paintings from the site of Akrotiri, Thera, are often considered to be instrumental to understanding elements of life in the Bronze Age. This is partially due to their high degree of preservation. The large-scale detail present in the scenes allows for a more detailed and nuanced understanding of the imagery that survives in glyptic art that, considered together with the surviving wall paintings, helps to better inform one’s understanding of Aegean life. Many of the iconographic elements and themes, however, remain at least partially enigmatic. This is particularly the case for Xeste 3, a cultic building at Akortiri, where the wall paintings contribute to a larger, programmatic cultic narrative. The current investigation seeks to better understand the monkeys scene from Room 2 of the first floor by deconstructing and examining each visual element via comparative analyses. They are first contextualized within the Aegean, then considered in light of Mesopotamian comparanda. This method allows for possible parallels between the monkeys from Xeste 3 and at least three priestly classes known from contemporary Mesopotamian tradition: the gala, assinnu, and kurgarrû. Each of these priestly classes belonged to the adaptable and widespread cult of Inanna, one of the most powerful and popular deities in Mesopotamia.

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Section: Inanna Participants and Performancementioning

confidence: 99%

Potnia’s Participants: Considering the Gala, Assinnu, and Kurgarrû in an Aegean Context

Pareja

2024

Arts

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“…Длабоката сенка на улицата се споменува во ситуацијата во која Инана се обидува да го убеди идниот сопруг, Думузи, во супериорноста на семејството во кое треба да се ожени, велејќи "без мајка ми, ти би бил набркан од длабоката сенка на улицата". 66 Во овој контекст, меѓутоа, лама ги задржува своите заштитнички способности, но бива опишана како некој кој ѝ припаѓа на степата, лиминалното место доминантно резервирано за штетни суштества. Сепак, Константопулос забележува дека оваа формулација се среќава само во преводот и рецензијата на текстот од првиот милениум, а не се наоѓа во старобабилонскиот текст.…”

Section: лама и удугunclassified

Амбивалентноста На Месопотамските Концепции За Демонското Низ Примерите На Удуг И Лама

Todorovska¹

2022

ZIVA

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Секако, дијалектички сметано, и заштитничкото (добро и корисно) суштество, токму за да може да ја исполнува својата функција -да го брани она за чија заштита е задолжено -мора да биде и соодветно заканувачко, застрашувачко суштество.

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“…20 Black et al 1998Black et al -2006.07.a, lines 23-9 (parentheses in translation). Sjöberg (1988) dates the text to the Ur III or Isin period (late third to early second millen-nium B.C.E.). 21 Miller 2000.…”

Section: The Twisted Wires As Plant Formsmentioning

confidence: 99%

Symbols of Fertility and Abundance in the Royal Cemetery at Ur, Iraq

Miller

2013

American Journal of Archaeology

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Fertility and abundance are important themes of ancient Mesopotamian texts and images. The goddess Inanna and her consort Dumuzi personify these ideas in texts of the second millennium B.C.E. Excavated by Leonard Woolley in the 1920s, the Royal Cemetery at Ur dates to the mid third millennium B.C.E. Among the tombs, that of Queen Puabi yielded many ornaments of gold, carnelian, and lapis. Some of the pendants realistically depict identifiable animals. Others are more stylized depictions of clusters of apples, dates, and date inflorescences. Apples and dates are both associated with the goddess Inanna, who is associated with love and fertility. Twisted wire pendants in the same group of objects are not so readily identified. I propose here that the twisted wire pendants in the Puabi assemblage may literally represent rope, symbolically reference sheep, and narratively evoke the flocks of the shepherd Dumuzi. Pairing symbols of Inanna and Dumuzi evokes life in a place of death.* * I would like to thank Katherine M. Moore for her insightful comments on sheep, Holly Pittman for some suggested comparanda, and the anonymous reviewer for the AJA for helpful comments. Figures are my own unless otherwise noted.

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A Hymn to Inanna and Her Self-Praise

Cited by 7 publications

References 0 publications

Potnia’s Participants: Considering the Gala, Assinnu, and Kurgarrû in an Aegean Context

Potnia’s Participants: Considering the Gala, Assinnu, and Kurgarrû in an Aegean Context

Амбивалентноста На Месопотамските Концепции За Демонското Низ Примерите На Удуг И Лама

Symbols of Fertility and Abundance in the Royal Cemetery at Ur, Iraq

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