...Cylinder Seal with a scene from The Epic of Gilgamesh (65.1663) Jayraj Patel (97920229) The themes of power, heroism and friendship have been observed in abundance in the Epic of Gilgamesh. The seal depicts a recreation of a scene from the Epic of Gilgamesh when Gilgamesh and Enkidu fight the Bull of Heaven, sent by Ishtar after Gilgamesh rejects her sexual advances and disrespects her. This seal accurately shows the depth of Gilgamesh and Enkidu’s bond. We can see how they are working as an amazing team to defeat the Bull of Heaven. In the text we see an elaborate display of physical strength, which can be seen in the seal. Both the heroes have been shown having big muscular torso and legs, fighting ferociously with the formidable bull. The Bull itself has been shown with wings to make it seem more “heavenly”. This is in accordance with what the text describes the incident. A bull usually symbolizes masculinity, power and violence. So when the duo is shown defeating The Bull of Heaven, it is the ultimate display of power and masculinity, just as it is described in the text....
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...Literature has always explored the theme of love. Love cannot be defined in just one way, there are several different types of love. Three types of love that can be found often in classic readings are eros(romantic), philia(friendship), and familial, or the love of family(“The 7 Types Of Love”). Love in literature is not far different than love in modern culture. The love titled philia can be found in The Epic of Gilgamesh. Gilgamesh has a strong love for Enkidu in the epic. Their love is solely the friendship they have. Gilgamesh wanted to fight Enkidu and destroy him to begin with. They were evenly matched as they were made alike. After Enkidu comes along, Gilgamesh changes his ways of being mean. They set off on a quest together to kill Humbaba, and together they succeed. The relationship between Enkidu and Gilgamesh is the heart of the Sumerian epic. Enkidu and Gilgamesh first meet as enemies and fight each other. It is during this battle that Gilgamesh comes to understand that his thoughts about women and life in general could be wrong. He learns from Enkidu and Enkidu learns and becomes more `civilized' through his friendship with Gilgamesh. When the gods...
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...Epic of Gilgamesh The Epic of Gilgamesh is epic poetry from Mesopotamia and is among the earliest known works of literature. Scholars believe that it originated as a series of Sumerian legends and poems about the protagonist of the story,Gilgamesh, which were fashioned into a longer Akkadian epic much later. The most complete version existing today is preserved on 12 clay tablets from the library collection of 7th-century BC Assyrian king Ashurbanipal. It was originally titled He who Saw the Deep (Sha naqba īmuru) or Surpassing All Other Kings (Shūtur eli sharrī). The story revolves around a relationship between Gilgamesh (probably a real ruler in the late Early Dynastic II period ca. 27th century BC)[1] and his close companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances. The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst...
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...INTRODUCTION THE OLDEST STORY IN THE WORLD In Iraq, when the dust blows, stopping men and tanks, it brings with it memories of an ancient world, much older than Islam or Christianity. Western civilization originated from that place between the Tigris and the Euphrates, where Hammurabi created his legal code and where Gilgamesh was written -- the oldest story in the world, a thousand years older than the Iliad or the Bible. Its hero was a historical king who reigned in the Mesopotamian city of Uruk in about 2750 BCE. In the epic, he has an intimate friend, Enkidu, a naked wild man who has been civilized through the erotic arts of a temple priestess. With him Gilgamesh battles monsters, and when Enkidu dies, he is inconsolable. He sets out on a desperate journey to find the one man who can tell him how to escape death. Part of the fascination of Gilgamesh is that, like any great work of literature, it has much to tell us about ourselves. In giving voice to grief and the fear of death, perhaps more powerfully than any book written after it, in portraying love and vulnerability and the quest for wisdom, it has become a personal testimony for millions of readers in dozens of languages. But it also has a particular relevance in today's world, with its polarized fundamentalisms, each side fervently believing in its own righteousness, each on a crusade, or jihad, against what it perceives as an evil enemy. The hero of this epic is an antihero, a superman (a superpower, one...
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...Core Assessment Project Corinna Sullwold |Religion Name |Cult of Pharaoh - Ancient |Mayan/Aztec - Ancient | |Origins of the religion: |Between 10000 and 7000 BCE a group of ancient Egyptians settled in the Nile Valley. |Mayan religion was founded c.250AD which is the rise of the Mayan civilization | |It's Founder, dates, Key Figures, Historical |7000 – 3000 BCD the people became organized into separate villages. After 3000 BCE |(http://www.religionfacts.com/mayan-religion) | |Development, Cosmogony (creation stories), |hieroglyphics were developed after the independent villages become united under one |Aztec formed between the 12th and 15th centuries AD. | |Myths |kingdom. They were then ruled by one imperial Pharaoh. |(http://www.aztec-history.com/aztec-timeline.html) | | | |Religion for both cultures was a central part of their daily lives. They prayed and | |HOW THE RELIGION STARTED … ...
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...The symbol of feminine worship can be traced back to 22-24,000 B.C.E, when the artifact called the Venus of Willendorf was thought to have been carved. It depicted a feminine figure with an abundant figure that was naked and showed prominent breasts. It is thought that this artifact represented a Neolithic adherence to fertility and the female’s inherent importance in that society. If this is indeed the case, the reverence of the feminine has existed for nearly thirty thousand years. It is the case historically that there exists a female godhead in nearly every type of culture, all around the globe. Within the dogma of these cultures, the Goddess is worshipped as a Great Mother; she is nurturing and maternal, promotes fertility in both humans and the earth, and also like the earth, has a dark side which can destroy. It is this concept of the Great Mother, a figure who gives life, creates all, the explanation to the unexplainable; that despite the often forced conversion to Western religions, is still flourishing in many areas of the world. Women are the bearers of life and because of this our identity is inexorably entwined with the identity of Mother. Those who choose to not become mothers sometimes struggle with this aversion to the social and oftentimes spiritual norm, and are looked down upon in society as selfish or strange. Women who are unable to bear children also grapple with the inability to fulfill this deeply ingrained natural role. The identity of Mother...
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...Foundations: c. 8000 B.C.E.–600 C.E. Major Developments 1. Locating world history in the environment and time 1. Environment 1. Geography and climate: Interaction of geography and climate with the development of human society a. Five Themes of Geography – consider these 1. Relative location – location compared to others 2. Physical characteristics – climate, vegetation and human characteristics 3. Human/environment interaction – how do humans interact/alter environ a. Leads to change 4. Movement – peoples, goods, ideas among/between groups 5. Regions – cultural/physical characteristics in common with surrounding areas b. E. Africa first people – 750,000 years ago started to move 1. moving in search of food c. Role of Climate – End of Ice Age 12000 BCE – large areas of N. America, Europe, Asia became habitable – big game hunters already migrated 1. Geographical changes - 3000 BCE Green Sahara began to dry up, seeds to forests – N. America 2. Effect on humans – nomadic hunters didn’t move so much a. Settle near abundant plant life – beginning of civilization b. Sedentary life w/ dependable food supply 3. milder conditions, warmer temperatures, higher ocean...
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...Quezon City Polytechnic University Batasan Satellite Campus Batasan Hills, Quezon City Research Paper in Symbolic Logic HOMOSEXUALITIES Submitted by Joann E. Buenavente Submitted to Prof. Fabian Avila I. Introduction Homosexuality Homosexuality is romantic or sexual attraction or behavior between members of the same sex or gender. As an orientation, homosexuality refers to "an enduring pattern of or disposition to experience sexual, affectionate, or romantic attractions" primarily or exclusively to people of the same sex; "it also refers to an individual's sense of personal and social identity based on those attractions, behaviors expressing them, and membership in a community of others who share them." Homosexuality is one of the three main categories of sexual orientation, along with bisexuality and heterosexuality, within the heterosexual-homosexual continuum (with asexuality sometimes considered a fourth). Scientific and medical understanding is that sexual orientation is not a choice, but rather a complex interplay of biological and environmental factors,[1][3] especially with regard to early uterine environment. While there are those who still hold the view that homosexual activity is "unnatural" or "dysfunctional", research has shown that homosexuality is an example of natural variation in human sexuality and is not in and of itself a source of negative psychological effects. Prejudice and discrimination against homosexual and bisexual people...
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...of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional, tragic, fatalistic themes · Dangerous knowledge; sublime nature; texts; secrecy; monstrosity motifs · Passive women; abortion symbols ·...
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...U MYTHOLOGY U GODS AND GODDESSES IN GREEK MYTHOLOGY Michelle M. Houle Copyright © 2001 by Michelle M. Houle All rights reserved. No part of this book may be reproduced by any means without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data Houle, Michelle M. Gods and Goddesses in Greek Mythology / Michelle M. Houle. p. cm. — (Mythology) Includes bibliographical references and index. Summary: Discusses various Greek myths, including creation stories and tales of principal gods and goddesses. ISBN 0-7660-1408-8 1. Mythology, Greek—Juvenile literature. [1. Mythology, Greek.] I. Title. II. Mythology (Berkeley Heights, N.J.) BL782 .H68 2000 398.2’0938’01—dc21 00-028782 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 To Our Readers: All Internet Addresses in this book were active and appropriate when we went to press. Any comments or suggestions can be sent by e-mail to Comments@enslow.com or to the address on the back cover. Cover and illustrations by William Sauts Bock CONTENTS Chart of Major Gods and Goddesses . . . . . . . . . . . . . . . . . . . . Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6 8 1 2 3 4 5 6 7 8 9 Creation . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The War Between the Titans and the Olympians . . . . . . . . . . . . . . . . . 26 Prometheus and Earth’s First Inhabitants . . . . . . . . . . . ....
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Hogarth Blake Presents: Wonderful Ethiopians Of The Ancient Cushite Empire By Drusilla Dunjee Houston First published in 1926 This e-book was edited by Hogarth Blake Ltd Download this book and many more for FREE at: hh-bb.com hogarthblake@gmail.com ‘Wonderful Ethiopians Of The Ancient Cushite Empire’ by Drusilla Dunjee Houston Reproduction & duplication of this work for FREE is permitted. Refer to the terms & conditions page for more details. Terms & Conditions Scanned at sacred-texts.com, October, 2004. John Bruno Hare, redactor. This text is in the public domain in the United States because it was not renewed at the US Copyright Office in a timely fashion as required by law at the time. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact in all copies and subject to the sacred texts Terms of Service at http://www.sacred-texts.com/tos.htm Hogarth Blake presents this e-book FREE of charge; it may be used for whatever purpose you see fit. The only limitations are that you may not decompile, disassemble, reverse engineer, modify, create derivative works based upon, sell, publish, license or sub-license the work or any part of it without the express written consent of Hogarth Blake Ltd. The work is provided as is. Hogarth Blake Ltd. makes no guarantees or warranties as to the accuracy, adequacy or completeness of or results to be obtained from using the work via hyperlink or otherwise, and expressly...
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...Hogarth Blake Presents: Wonderful Ethiopians Of The Ancient Cushite Empire By Drusilla Dunjee Houston First published in 1926 This e-book was edited by Hogarth Blake Ltd Download this book and many more for FREE at: hh-bb.com hogarthblake@gmail.com ‘Wonderful Ethiopians Of The Ancient Cushite Empire’ by Drusilla Dunjee Houston Reproduction & duplication of this work for FREE is permitted. Refer to the terms & conditions page for more details. Terms & Conditions Scanned at sacred-texts.com, October, 2004. John Bruno Hare, redactor. This text is in the public domain in the United States because it was not renewed at the US Copyright Office in a timely fashion as required by law at the time. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact in all copies and subject to the sacred texts Terms of Service at http://www.sacred-texts.com/tos.htm Hogarth Blake presents this e-book FREE of charge; it may be used for whatever purpose you see fit. The only limitations are that you may not decompile, disassemble, reverse engineer, modify, create derivative works based upon, sell, publish, license or sub-license the work or any part of it without the express written consent of Hogarth Blake Ltd. The work is provided as is. Hogarth Blake Ltd. makes no guarantees or warranties as to the accuracy, adequacy or completeness of or results to be obtained from using the work via hyperlink or otherwise, and expressly...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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