By Piotr Michalowski, Niek Veldhuis
This quantity, devoted to H.L.J. Vanstiphout on the social gathering of his retirement from the collage of Groningen, July 14th 2006, demonstrates the wide number of scholarly techniques to the examine of old Sumerian literature. It comprises contributions via Bendt Alster ("Ninurta and the Turtle"), Nicole Brisch ("In compliment of the Kings of Larsa"), A.J. Ferrara ("A Hodgepodge of Snippets"), Alhena Gadotti ("Gilgames, Gudam and the Singer"), W.W. Hallo ("A Sumerian Apocryphon?"), Dina Katz ("Appeals to Utu"), Jacob Klein ("Man and His God"), Piotr Michalowski ("The unusual background of Tumal"), Gonzalo Rubio ("Sulgi and the dying of Sumerian"), Niek Veldhuis ("How Did They examine Cuneiform?"), and Claus Wilcke ("Die Hymne auf das Heiligtum Kes").
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Additional resources for Approaches to Sumerian Literature: Studies in Honour of Stip (H.L.J. Vanstiphout) (Cuneiform Monographs)
265–75 in A Scientiﬁc Humanist. A Study in Memory of Abraham Sachs, eds. E. Leichty, M. de J. Ellis, and P. Gerardi. Occasional Publications of the Samuel Noah Kramer Fund 9. Philadelphia: Samuel Noah Kramer Fund, University Museum. 2003 The Libraries of Babel: Text, Authority, and Tradition in Ancient Mesopotamia. Pp. 105–29 in Cultural Repertories: Structure, Function and Dynamics, eds. G. J. Dorleijn and H. L. J. Vanstiphout. Leuven: Peters. Reisman, D. D. 1970 Two Neo-Sumerian Royal Hymns. D.
Farber-Flügge (1987–1990). In English, me is best rendered as a collective plural, the me, as always used by S. N. Kramer, not “the me’s,” or similar. 12 @i“-hur occurs in line 3 and literally means something incised, drawn; in other words, “plans” is a ﬁtting translation. dub-nam-tar-ra, “the tablet of destiny,” occurs in line 4, restored from obv. 4: dub-nam-tar-ra-@u10 of the Ur duplicate quoted above. Kramer (1984:232, n. 11), in this case considers them synonymns. This is not the place to enter a detailed discussion of the symbolism of the tablet of destiny, which recurs in later concepts of a celestial book in which the deeds of all mankind are recorded.
Also Wiggermann (1981–82). on parodia sacra in sumerian literature 35 We do not know whether the parodic features in Ninurta and the Turtle were merely satirical episodes in a larger Ninurta composition, or whether the whole text was meant to be a parody of Ninurta. References Cited Alster, Bendt 1972 1973 1983 1985 “Ninurta and the Turtle,” UET 6/1, 2. JCS 24:120–25. ” RA 67:101–10. The Mythology of Mourning. ASJ 5:1–16. Ge“tinanna as Singer and the Chorus of Uruk and Zabalam: UET 6/1 22. JCS 37:219–28.
Approaches to Sumerian Literature: Studies in Honour of Stip (H.L.J. Vanstiphout) (Cuneiform Monographs) by Piotr Michalowski, Niek Veldhuis