Desire Discord And Death

Annotation After a general discussion of methods and approaches, Walls explores the construction of desire in the Gilgamesh Epic; a Freudian analysis of Horus and Seth; and sex, power, and violence in Nergal and Ereshkigal. Annotation c. Book News, Inc., Portland, OR (booknews.com).

A poem for the ages, freshly and accessibly translated by an international rising star, bringing together scholarly precision and poetic grace "Sophus Helle's new translation . . . [is] a thrilling, enchanting, desperate thing to read."--Nina MacLaughlin, Boston Globe "Looks to be the last word on this Babylonian masterpiece."--Michael Dirda, Washington Post Gilgamesh is a Babylonian epic from three thousand years ago, which tells of King Gilgamesh's deep love for the wild man Enkidu and his pursuit of immortality when Enkidu dies. It is a story about love between men; loss and grief; the confrontation with death; the destruction of nature; insomnia and restlessness; finding peace in one's community; the voice of women; the folly of gods, heroes, and monsters--and more. Millennia after its composition, Gilgamesh continues to speak to us in myriad ways. Translating directly from the Akkadian, Sophus Helle offers a literary translation that reproduces the original epic's poetic effects, including its succinct clarity and enchanting cadence. An introduction and five accompanying essays unpack the history and main themes of the epic, guiding readers to a deeper appreciation of this ancient masterpiece.

Toward the end of the Mesopotamian Epic of Gilgamesh King, Gilgamesh laments the untimely death of his comrade Enkidu, 'my friend whom I loved dearly'. This book examines the stories' sexual and homoerotic language and suggests that its ambiguity provides fresh ways of understanding ideas of gender and sexuality in the ancient Near East.

The strange and enigmatic title "son of man" has intrigued biblical scholars for millennia. What does it mean and how does it describe Jesus in his role as the Christian messiah? Robin Jarrell surveys the mythological roots of the phrase in the ancient Mesopotamian Epic of Gilgamesh and traces its development from the mythology of the Egyptian queen Hatshepsut's birth narrative, to the Baal Cycle in Ugaritic literature, to the story of Pandora, and finally to the story of creation found in the book of Genesis. The key to unlocking the mystery of the phrase "son of man" is embedded in the story of the first "son of man"--Noah--with the reference to "the sons of God" who found wives among the "daughters of men" and whose offspring brought devastation to the earth and the reason for the flood. In the hands of the Christian gospel writers, the parallel "son of man" figure found in the Dead Sea Scrolls reemerges in the identity of the last "son of man"--Jesus of Nazareth.

Davies examines the work of four of the most important twentieth-century poets who have explored the epic tradition. Some of the poems display an explicit concern with ideas of American nationhood, while others emulate the formal ambitions and encyclopaedic scope of the epic poem. The study undertakes extensive close readings of Hart Crane's The Bridge (1930), Allen Ginsberg's “Howl” (1956) and The Fall of America: Poems of These States 1965-71 (1972), James Merrill's The Changing Light at Sandover (1982), and John Ashbery's Flow Chart (1991). Although not primarily an account of a Whitmanian lineage, this book considers Whitman's renegotiation of the dialectic between the public and the private as a context for the project of the homosexual epic, arguing for the existence of a genealogy of epic poems that rethink the relationship between these two spheres. If, as Bakhtin suggests, the job of epic is to “accomplish the task of cultural, national, and political centralization of the verbal-ideological world,” the idea of the “homosexual epic” fundamentally problematizes the traditional aims of the genre.

Did the Bible only take its definitive form after Alexander conquered the Near East, after the Hellenisation of the Samaritans and Jews, and after the founding of the great library of Alexandria? The Bible and Hellenism takes up one of the most pressing and controversial questions of Bible Studies today: the influence of classical literature on the writing and formation of the Bible. Bringing together a wide range of international scholars, The Bible and Hellenism explores the striking parallels between biblical and earlier Greek literature and examines the methodological issues raised by such comparative study. The book argues that the oral traditions of historical memory are not the key factor in the creation of biblical narrative. It demonstrates that Greek texts – from such authors as Homer, Hesiod, Herodotus and Plato – must be considered amongst the most important sources for the Bible.

Gilgamesh focuses on the eponymous hero of the world’s oldest epic and his legendary adventures. However, it also goes further and examines the significance of the story’s Ancient Near Eastern context, and what it tells us about notions of kingship, animality, and the natures of mortality and immortality. In this volume, Louise M. Pryke provides a unique perspective to consider many foundational aspects of Mesopotamian life, such as the significance of love and family, the conceptualisation of life and death, and the role of religious observance. The final chapter assesses the powerful influence of Gilgamesh on later works of ancient literature, from the Hebrew Bible, to the Odyssey, to The Tales of the Arabian Nights, and his reception through to the modern era. Gilgamesh is an invaluable tool for anyone seeking to understand this fascinating figure, and more broadly, the relevance of Near Eastern myth in the classical world and beyond.

In The Twelve Gates, clinical anthropologist John Rush embarks on a spellbinding journey through death rituals in various cultures, centering on the ancient Egyptian philosophy of death and resurrection. The first part of the book provides an overview of different rituals, encouraging readers to confront their feelings about death and to reevaluate their lives. The author details his own experiences preparing for death, including a painful tattooing process inspired by the ancient Egyptian Books of the Netherworld. He then guides readers through the Twelve Gates of the Underworld, symbolic ritual stages during which they can figuratively experience death and rebirth. A set of full-color tarot cards, designed by the author, is included as an aid in passing through each of the Gates. These ancient rituals, performed by pharaohs and priests for thousands of years, help ease the way toward a peaceful, conscious death.