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The Old Babylonian Ištar ritual from Mari (FM 3, no. 2) has been the focus of much discussion since its primary edition in 1938 by G. Dossin. This article offers a new analysis of the passage mentioning the balaĝ-deity Ninigizibara, which leads to identifying this balaĝ as a huge upright lyre as tall as a human played by two persons from both sides. Similar musical instruments are known from Anatolia and Egypt. Especially the Egyptian examples, which are attested only for the time of Echnaton, show striking parallels to the musical performance described in the Old Babylonian Ištar ritual. After discussing the possible background of cultural exchange, this article closes with a revaluation and new interpretation of the term balaĝ.
The three-dimensional cuneiform script is one of the oldest known writing systems and a central object of research in Ancient Near Eastern Studies and Hittitology. An important step towards the understanding of the cuneiform script is the provision of opportunities and tools for joint analysis. This paper presents an approach that contributes to this challenge: a collaborative compatible web-based scientific exploration and analysis of 3D scanned cuneiform fragments. The WebGL -based concept incorporates methods for compressed web-based content delivery of large 3D datasets and high quality visualization. To maximize accessibility and to promote acceptance of 3D techniques in the field of Hittitology, the introduced concept is integrated into the Hethitologie-Portal Mainz, an established leading online research resource in the field of Hittitology, which until now exclusively included 2D content. The paper shows that increasing the availability of 3D scanned archaeological data through a web-based interface can provide significant scientific value while at the same time finding a trade-off between copyright induced restrictions and scientific usability.
Based on first-millennium cuneiform manuscripts from Aššur, Babylon, and Uruk, this article offers an edition of a ritual against an illness conceptualized as the demon ‘Any Evil’. The text sheds light on how the catch-all figure Any Evil corresponds to the idea of a universal cure for any physical ailment, and how the rhetoric of the incantation articulates this relationship and facilitates the active participation of the patient. The ritual instructions of this and a closely related text show that Any Evil is envisaged as a bull-headed, male demon. This points to an adaptation of motifs that are typically associated with ghosts in ancient Mesopotamian thought and raises questions concerning the pictorial representation of Any Evil and its conceptual foundations.
The paper argues that a) Germanic *tauf/ƀra- (Germ. Zauber, etc.) is related to a root PIE *deu̯p- ‘beat; make a hollow sound, resound’ found in Greek δοῦπος ‘thud’, etc., b) Greek φάρμακον goes back to the root PIE *gʷʰer- ‘heat’ (Gk. θερμός, etc.) implying healing by fomentation, and c) Armenian hiwand ‘sick’, borrowed from Iranian, to PIE *sh₂ei̯- ‘bind’ relying on the notion of disease as a supernatural bond.
A note on Vedic cīti-
(2021)
Vedic cīti-, attested in the Atharvaveda, is argued to be related to Av. ṣ̌āitī-, OP šiyāti- ‘happiness’ built to PIE *kʷi̯eh₁- ‘to (come to) rest’.