By Piotr Michalowski, Niek Veldhuis
This quantity, devoted to H.L.J. Vanstiphout on the celebration of his retirement from the collage of Groningen, July 14th 2006, demonstrates the vast number of scholarly ways to the examine of historical Sumerian literature. It includes contributions through 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 historical past of Tumal"), Gonzalo Rubio ("Sulgi and the loss of life of Sumerian"), Niek Veldhuis ("How Did They examine Cuneiform?"), and Claus Wilcke ("Die Hymne auf das Heiligtum Kes").
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Extra info for Approaches to Sumerian Literature: Studies in Honour of Stip (H.L.J. Vanstiphout) (Cuneiform Monographs)
The comments on ll. 6 and 10–11. Line 18: The line may suggest a reference to a sculpture representing Ninurta and the slain Anzu-bird exhibited in the temple. Line 20: ní@-KA-[zu] ¢ hé-akÜ: ETCSL translates: “May your father Enlil do whatever you command,” which would have required ní@dug4-
Bauer, Altotientalische Notizen 3, p. 6. 9 Kramer in his study “Enki and his Inferiority complex” (Kramer 1970) advocates the view that it was Enki, and not Enlil, who was the intruder seeking to gain dominance over the other, contrary to the most commonly held view. At one important point his arguments fail to carry conviction. On pp. ” This would be contrary to all we know about Enki, who always was helpful towards mankind (cf. n. 16). Kramer here refers to the so-called “Babel of tongues” episode of Enmerkar and the Lord of Aratta, which was explained very diﬀerently by Alster (1973) and subsequently by Vanstiphout (1994).
Have been considered. 11 In my opinion it is important to bear in mind that me can be visible, and that they can denote both a function and a concrete object that symbolizes that function. The me mostly are said to come from the Abzu, from where Inanna brought them to her city Uruk. The me are never said to have been created by any particular god. It rather seems that the me were a kind of raw material available to the gods who could avail themselves of them, so to speak, as if they were magicians able to control them with varying degrees of competence.
Approaches to Sumerian Literature: Studies in Honour of Stip (H.L.J. Vanstiphout) (Cuneiform Monographs) by Piotr Michalowski, Niek Veldhuis