The Figure of Nabopolassar in Late Achaemenid and Hellenistic Historiographic Tradition: BM 34793 and CUA 90

Riva, Rocío Da

doi:10.1086/690464

Cited by 7 publications

(1 citation statement)

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“…Differences in the installation and coronation of the brothers are otherwise invisible besides the mention of what may have been the Babylonian House of Succession, the Edadihegal (RINAP 4 53: 10′−13′). Pongratz-Leisten has argued for distinct characteristics, such as humiliation, that are part of the Assyrian installation ritual but not the Babylonian one, and also points to the Ashurbanipal Coronation Hymn as evidence for the Assyrian coronation rite, which Da Riva contrasts to the Nabopolassar Epic's coronation scene (Da Riva 2017: 85-86, Pongratz-Leisten 2015: 438, Waerzeggers 2011. The naming and investiture of the king in the Nebuchadnezzar Hymn to Nabû may also be styled after a coronation ceremony since it shows Marduk and Nabû designating Nebuchadnezzar II as king and bestowing upon him royal symbols such as the mace and scepter.…”

Section: Introductionmentioning

confidence: 99%

Going Native: Šamaš-Šuma-Ukīn, Assyrian King of Babylon

Zaia¹

2019

Iraq

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Šamaš-šuma-ukīn is a unique case in the Neo-Assyrian Empire: he was a member of the Assyrian royal family who was installed as king of Babylonia but never of Assyria. Previous Assyrian rulers who had control over Babylonia were recognized as kings of both polities, but Šamaš-šuma-ukīn's father, Esarhaddon, had decided to split the empire between two of his sons, giving Ashurbanipal kingship over Assyria and Šamaš-šuma-ukīn the throne of Babylonia. As a result, Šamaš-šuma-ukīn is an intriguing case-study for how political, familial, and cultural identities were constructed in texts and interacted with each other as part of royal self-presentation. This paper shows that, despite Šamaš-šuma-ukīn's familial and cultural identity as an Assyrian, he presents himself as a quintessentially Babylonian king to a greater extent than any of his predecessors. To do so successfully, Šamaš-šuma-ukīn uses Babylonian motifs and titles while ignoring the Assyrian tropes his brother Ashurbanipal retains even in his Babylonian royal inscriptions.

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Section: Introductionmentioning

confidence: 99%