THE REPATRIATION OF GILGAMESH DREAM TABLET: REBUILDING THE IRAQI RELIGIOUS LEGACY

Since the discovery over one hundred years ago of a body of Mesopotamian poetry preserved on clay tablets, what has come to be known as the Epic of Gilgamesh has been considered a masterpiece of ancient literature. It recounts the deeds of a hero-king of ancient Mesopotamia, following him through adventures and encounters with men and gods alike. Yet the central concerns of the Epic lie deeper than the lively and exotic storyline: they revolve around a man's eternal struggle with the limitations of human nature, and encompass the basic human feelings of loneliness, friendship, love, loss, revenge, and the fear of the oblivion of death. These themes are developed in a distinctly Mesopotamian idiom, to be sure, but with a sensitivity and intensity that touch the modern reader across the chasm of three thousand years. This translation presents the Epic to the general reader in a clear narrative.

Reviewed by: Symphony No. 4, H 305 by Bohuslav Martinů, and: The Epic of Gilgamesh, H 351 by Bohuslav Martinů Nigel Simeone Bohuslav Martinů. Symfonie č. 4, H 305 = Symphony No. 4, H 305. Editorka = Edited by Sharon Andrea Choa. (Souborné vydání díla Bohuslava Martinů = The Bohuslav Martinů Complete Edition, Série II/1/4 Symfonie = Series II/1/4 Symphonies.) Kassel: Bärenreiter, 2014. [About the Edition, in Eng., Czech, p. ix–x; foreword in Eng., Czech, p. xi–xxvi; facsims., p. xxvii–xlvii; score, p. 1–224; crit. report in Eng., Czech, p. 225–46; list of alternative readings, p. 247–49. ISMN 979-0-2601-0764-9, pub. no. BA 10572. €335 (price reduction available for subscribers).] [End Page 166] Bohuslav Martinů. Epos o Gilgamešovi, H 351 = The Epic of Gilgamesh, H 351. Editor [sic] = Edited by Aleš Březina. (Souborné vydání díla Bohuslava Martinů = The Bohuslav Martinů Complete Edition, Série VI/2/1 Oratorium = Series VI/2/1 Oratorio.) Kassel: Bärenreiter, 2014. [About the Edition, in Eng., Czech, p. ix–x; foreword in Eng., Czech, p. xi–xxxvii; facsims., p. xxxviii–lvii; Martinů’s Suggestions for a Semi-Theatrical Production, in Eng., Czech, p. lviii; score, p. 1–248; crit. report in Eng., Czech, p. 249–75; list of alternative readings, p. 276–78; libretto in Eng., Ger., p. 279–83; documents in Fre., Eng., Czech, p. 284–87. ISMN 979-0-2601-0763-2, pub. no. BA 10571. €390 (price reduction available for subscribers).] Bohuslav Martinů (1890–1959) led a nomadic existence. After studying composition with Josef Suk in Prague (and playing as a violinist in the Czech Philharmonic), he moved to Paris in 1923 where he studied informally with Albert Roussel and came under the influence of jazz, surrealism, and neoclassicism. It was also in Paris that he met his French wife, Charlotte (they married in 1931), and, later, the young composer Víězslava Kaprálová, with whom he had a passionate affair in the late 1930s. Martinů fled to Aix-en-Provence in 1940—Nazi-occupied Paris was a dangerous place for a liberal-minded Czech—before sailing to the United States in 1941. He worked there for the next twelve years (producing all six of his symphonies during this period), before returning to Europe in 1953, first to Nice in the south of France, and finally to Switzerland as the guest of Paul Sacher, who was one of Martinů’s most important European patrons. A glance at the publishing history of Martinů’s large output (around 400 works) reveals a catalog spread across a startling array of publishers, including several each in Prague and Paris, and others in London, New York, Vienna, Mainz, Kassel, and elsewhere. Martinů’s inability to sustain a long-term relationship with a particular publisher wasn’t only the result of his peripatetic existence, but also owed something to his sometimes awkward personality. He could appear distant and difficult; in Bohuslav Martinů: The Compulsion to Compose ([Lanham, MD: Scarecrow Press, 2011], especially pp. 287–314), F. James Rybka makes a convincing case for these traits being attributable to Asperger’s syndrome. The consequence of this unusually diffuse publishing history means that some of Martinů’s music has been (and remains) very hard to find. To give just one example from his large-scale works: the piano-vocal scores of several operas have never been put on sale. Other pieces are more readily available, including the six symphonies, all of them published by Boosey & Hawkes. There are significant editorial problems, however, even with Martinů’s most famous works. Listening to different versions of his best-known piece, the much-recorded Double Concerto for two string orchestras, piano, and timpani (hereinafter, Double Concerto), reveals an intriguing anomaly with the final chord of the first movement. Among Czech music specialists, Jiří Bělohlávek and the Czech Philharmonic (Chandos CHAN 8950 [CD], recorded in 1990) play a long D-major chord in the penultimate measure, followed by a D-minor chord to end the movement. Karel Šejna with the same orchestra more than thirty years earlier plays two D-major chords (Supraphon SU 1924–2...

Reviewed by: Literature for a Changing Planet by Martin Puchner Greg Brown Martin Puchner Literature for a Changing Planet Princeton. Princeton University Press. 2022. 160 pages. martin puchner's Literature for a Changing Planet is an urgent call for rereading the stories that have shaped our world. Human beings have reached a point of tremendous environmental influence, collectively. Our actions will shape the biosphere from here on. The humanities play a vital role in the way we see the planet, but without a clear vision, which history and literature can provide, we will meet the coming dangers blindly. Puchner argues there is value in reading world literature ecologically from literally the beginning: The Epic of Gilgamesh. From this most ancient text, he draws familiar themes of civilization versus wilderness. Anyone familiar with the work will remember the praise of civilization's values, the equation of wandering and exile with grief, and the seduction of the wild man, Enkidu, into society. Tracing the interaction between the built and wild environments across "a number of foundational epics," Puchner next moves to the Odyssey's famous scene: Odysseus's defeat of the cyclops Polyphemus. Once again, the text contrasts and praises the Greeks' settled ways of life with the different, uncivilized manners of the giants. Puchner highlights the rhetorical purpose of Odysseus's tale, told as it is to a court upon whose graces he depends. These stories of civilization versus the wilderness persist across times and cultures. Consistent with his global focus, Puchner turns to another origin of literacy, Mayan literature. An independent invention of writing, so rare and nearly obliterated as to be virtually unknown compared to readers familiar with Odysseus or even Gilgamesh, "the Popol Vuh includes an account of the creation of humans" completely separate from that of Mesopotamia. There are intriguing differences, such as how the reverence for clay in brick-making Uruk is absent in the Popol Vuh, written by a culture that worked in stone. Yet this elaborate epic of Mesoamerica arrives at similar themes regarding the value of settled life and reverence of the staple crops of its region, just as The Epic of Gilgamesh and the Odyssey do. The centrality of resource extraction to urban societies' most basic stories repeats across space and time, independently. Puchner argues that this reveals something fundamental. At this point, Literature for a Changing Planet introduces one of its most challenging assertions: writing is deeply complicit in resource-extractive ways of living. The ancient texts of the world arise from settled ways of life; they facilitate the organization of labor and participate in empire-building; they defend their societies from outside forces, including those humans who were still living in nomadic communities or otherwise at large; and they define the rest of nature as wildernesses. Thus, reading world literature ecologically requires reading it subversively, against its grain. This assertion remains central to Puchner's argument and culminates in "a reading protocol" of seven principles "[drawing] on the insights of both [world literature and ecocriticism]." These principles range from bearing in mind that we are reading works in "a medium that is complicit with, and therefore most likely defensive of, settled life and the resource extraction required to sustain it" to recalling that "neither the canons of world literature nor world literature anthologies are neutral tools." Puchner insists that the complicity of literature with the causes of climate [End Page 76] crises is not a reason to discard it, but rather to read it carefully and to make room for orality as well as written literature. Literature for a Changing Planet places the invention of world literature in Weimar, January 31, 1827, when Goethe is reported to have said "the era of world literature is at hand." The forces of industrialization, colonization, and incipient globalization make this moment possible, having put into Goethe's hands literature from across the globe. This fact complicates Puchner's praise of world literature as having a greater chance of healing nature than narrow nationalist literatures. It seems at first glance to be a paradox, just as the complicity of writing itself undermines its ability to address the problem. After all, farmer and philosopher Wendell...

This chapter describes the topography of arrival in a literary work as determined by the coordination of time and space. Following upon a brief account of the existential meeting of Self and Other in The Epic of Gilgamesh (c. seventh century BCE), an exploration of the chronotopic changes in romance from Xenophon of Ephesus's An Ephesian Tale (c. second century CE) to Walter Scott's The Heart of Midlothian (1818) as outlined by Mikhail Bakhtin demonstrates how synchronic influences lead to significant diachronic changes in an otherwise consistent literary form. Then, a reading of Anton Chekhov's Lady with the Dog (1899) shows how variations in social space effectively reconstruct the topography of arrival. The result is a historical map of literary works that complicates the reading of difference in existential terms by illustrating the chronotopic manipulation that frames arrival.The demigod Gilgamesh is the young, unruly king of the city of Uruk. He meets the wild man Enkidu and attempts to overcome him in battle. The two are reconciled and become the best of friends. Gilgamesh and Enkidu set off to the Forest of Cedar to earn fame by slaying the guardian Humbaba and to destroy the sacred forest for timber. Gilgamesh later refuses the advances of the goddess Ishtar. In retaliation, a great bull is sent to wreak havoc in Uruk. It is killed by the combined efforts of Gilgamesh and Enkidu, but Enkidu dies shortly after as a result. Distraught, Gilgamesh wanders in search of immortality to Uta-napishti the Distant. On his journey, he imposes his will on others, but at the ends of the world, his mortality is revealed. Gilgamesh returns home to inscribe his journey on clay tablets and continue his reign as king over the city and people of Uruk.This ancient tale contributes to an understanding of the topography of arrival as the existential meeting of Self and Other in several ways. First, Gilgamesh' s discovery of the unknown at the ends of the world is emphasized in the prologue: [Gilgamesh] saw what was secret, discovered what was hidden, / he brought back a tale of before the Deluge. (Anon 1993: 2) The stress placed on the 'secret' and 'hidden' coincides with reference to the preservation of the tale in writing and instructions to read out / the travails of Gilgamesh [...] Who scoured the world ever searching for life, / and reached through sheer force Uta-napishti the (Anon 1993: 2). Second, Gilgamesh meets subjects, rivals, nature and animals, foreigners and a goddess in Uruk and on his travels. In each case, the young king affirms the priority and seeming invincibility of his own existence through violence. It is only when Enkidu dies that Gilgamesh faces that which cannot be conquered. But Gilgamesh, confronted with death, attempts to prevail over his own mortality anyway. Exhausted by his endless travels, he arrives at the ends of the earth, stripped of his royal robes, worn out and alone. Uta-napishti the Distant makes it clear that the divide between Self and Other cannot be overcome: No one at all sees Death,/no one at all sees the face [of Death,] / no one at all [hears] the voice of Death/Death so savage, who hacks men down. (Anon 1993: 86) The meeting with Uta-napishti reveals an ultimate displacement of the Self in relation to an Other that cannot be imposed upon. As such, Gilgamesh' s arrival at the ends of the earth may be viewed as the revelation of an existential human condition.Gilgamesh ends with a repetition from the prologue: O Urshanabi, climb Uruk' s wall and walk back and forth! / Survey its foundations, examine the brickwork! / Were its bricks not fired in an oven? / Did the Seven Sages not lay its foundations? / A square mile is the city, a square mile date -grove, a square mile is / clay-pit, half a square mile the temple of Ishtar: / three square miles and a half is Uruk's expanse. (Anon 1993: 99) Gilgamesh's final arrival is a return to Uruk, the return of an impetuous, wandering king to the wall that cannot be built alone, to the Seven Sages who commune with the gods on behalf of mortals, to a city centered about a place of worship and to the act of inscription. …

Calcareous dunes of the United Arab Emirates and Noah's Flood: the postglacial reflooding of the Persian (Arabian) Gulf

I really do have to start with some – ologies. The recent, in history of the earth terms, advent of humans is only known to us through the realms of archaeology and anthropology. Modern humans have had an advanced culture for 10,000 years and the story starts, so far as we know at present, with sumeriology: the study of the ancient Sumerian peoples. It is one thing to dig up postholes, hearth places and pottery shards and deduce, many would say speculate, on the people whose history they represent. It is quite another when those people have left written information. Deduction and speculation then give way to hard facts. Ancient civilizations from at least the Neolithic period have left signs and patterns scratched onto a variety of surfaces, but what these were and what they mean is generally unknown. Many may have been economic tallies or a pictographic proto-writing system; who knows? It is only as emerging technology brought people into the bronze age that true writing developed and it is a near certainty that Sumerian pictographic protowriting developed into writing. This was the world’s oldest known true writing system, an arrangement of wedge shaped marks that we call cuneiform. So, from Sumeria to Assyria and, therefore Assyriology which is the archaeological, historical, and linguistic study of ancient Mesopotamia and the related cultures that used cuneiform writing. All this we know because we have found many examples of the writing and it has been deciphered and translated. This from early in the 3rd millennium BCE. There is other writing, more ideographic, found in the early Egyptian pyramids, religious texts to direct the pharaohs on their journey into the afterlife; this too has been deciphered and translated. Before the millennium was out the first novels appeared of which the most complete is the Epic of Gilgamesh. This is a story of gods and demons and a striving for immortality. It also includes a story which may be the origins of the Biblical story of Noah’s Ark. So, we know something of ancient people, who lived nearly 5000 years ago because they wrote on clay tablets which they fired, later they carved stone or wrote on papyrus or painted on walls. All durable media that have survived. Bronze Age people and later Iron Age people left records that survive as have the histories of more recent people. From the 15th century things got a lot easier after the introduction of the Gutenburg press. Books, which up to that time had been hand-written, could now be mass produced. Information about the world and everything in it just kept appearing, more and more and more of it. Maybe it all started to change in the early years of the 19th century when Jacquard invented his process for programming the patterns on cloth produced by a loom. His advance was to use punched cards to order the pattern of the loom’s weave. Changes in the pattern could be made by simply changing cards. An advance that was an important conceptual precursor to the development of computer programming. The computer age had begun. Charles Babbage knew of Jacquard’s work and planned to use punched cards to store programs for his Analytical Engine. The Analytical Engine was to be a mechanical general-purpose computer. Although never built in his

Empty is that philosopher's argument by which no human suffering is therapeutically treated. For just as there is no use in a medical art that does not cast out the sicknesses of the body, so too there is no use in philosophy, unless it casts out the suffering of the soul.—

B RITISH COLUMBIA LIES AT A CROSSROADS in the transition between forests provided by providence and those created through human husbandry and stewardship. Many of the changes now tormenting BC are predictable consequences of human interaction with primeval forests. Indeed, the earliest recorded story — the Epic ofGilgamesh, written in cuneiform on a clay tablet 5,000 years ago — remarks on the dire consequences of forest depletion. E a c h s u b s e q u e n t c iv i l iza t ion — from t h e Greeks in t h e Mediterranean, to the wandering bands in Central Europe, to the Swedes late in the last century, to our southern neighbours in the last decade or so — has relived this story with little change in theme. Large expanses of virgin forest remain in only a few places — in BC and elsewhere in Canada, in eastern Russia, in the Amazon, and in parts of Africa. Those in BC lie on the cusp of an irreversible slide into the established historical pattern of resource depletion and attendant social disruption. But, unlike in most other developed parts of the world, in BC there is still an opportunity to make the changes needed to sustain a vast wild estate while yet maintaining a prosperous society based on forest resources. This article contemplates BC'S predicament by responding to three questions: First, by way of background, what are the predictable elements of resource depletion as they have evolved in other parts of

The Battle Rages On

At the end of the nineteenth century, several female figures from different cultural universes, such as Salome or Cleopatra, resurfaced in art and literature, loaded with a symbolism that allowed to evoke different cultural aspects. Griffith collected several elements from Aldrich, from the doubts that destabilize Judith's mission and her seduction, to the characters Nathan and Naomi. Griffith's film was released at a time when there was a profound debate, both in Europe and in the United States, about the female role in politics and within society. As in Griffith's film, the heroine also defends the community, albeit in a somewhat different way. The Semiramis from La Cortigiana di Babilonia perfectly adapts to the good woman profile of peplum cinema. The greatest proof that sexuality and eroticism were viewed naturally by Mesopotamian society is the excerpt from the Epic of Gilgamesh that narrates the civilizing process of Enkidu.

Reviewed by: Gilgamesh among Us: Modern Encounters with the Ancient Epic by Theodore Ziolkowski Johannes Haubold Theodore Ziolkowski. Gilgamesh among Us: Modern Encounters with the Ancient Epic. Ithaca, N.Y.: Cornell University Press, 2011. xvi + 226 pp. 3 black-and-white ills. Cloth, $35. This book surveys modern receptions of the Gilgamesh Epic from the earliest lectures and publications of George Smith to recent reworkings of the epic in Western literature and art. The argument is divided into five chapters. After an introduction which outlines the contents of the poem and tells the story of its rediscovery, chapter 1, “The Initial Reception (1884–1935),” takes us from Leonidas Le Cenci Hamilton’s Ishtar and Izdubar of 1884 via the “Babel and Bible” controversy of the early twentieth century to the predominantly German reception prior to World War II. Several major figures make an appearance here, including Freud, Jung, Rilke, Hesse, Mann, Döblin, Canetti, and Pannwitz. Chapter 2, “Representative Beginnings (1941–1958),” takes up the thread of German engagement with the towering achievements of Hermann Kasack’s Die Stadt hinter dem Strom (61–64) and, especially, Hans Henny Jahnn’s Fluß ohne Ufer (67–74), an enigmatic re-imagining of the Gilgamesh story on a scale that deserves a monograph study of its own. Elsewhere, the reception of Gilgamesh continues with “four poets in English” (Lucas and Bridson in Britain; Olson and Corso in the United States; 48–59) and with the first musical settings, among them Martinů’s oratorio The Epic of Gilgamesh (75–77). Chapter 3, “The Popularization of Gilgamesh (1959–1978),” surveys new translations into the major European languages (79–80), and with them a range of popular responses. Ziolkowski notes a surge in adaptations for children, as well as other initiatives aimed at a wider public (81–82). It is against this background, he argues, that we need to see more ambitious experiments in musical and literary reception, including Per Nørgård’s opera Gilgamesh (105–7); Louis Zukofsky’s “canto 23” (which forms part of his larger poetic cycle entitled “A,” 85–88); Stanisław Lem’s review of an imaginary Gilgamesh adaptation in his A Perfect Vacuum (Doskonała Próżnia, 97–99); and the “fictional exuberances” of John Gardner’s The Sunlight Dialogues, Philip Roth’s The Great American Novel, and Rhoda Lerman’s Call Me Ishtar (99–105). Ziolkowski also draws attention to what he argues was the first overtly gay reworking of Gilgamesh, in Guido Bachmann’s novel of the same name (91–94). Chapter 4, “The Contemporization of Gilgamesh (1979–1999),” continues the theme of popularization in a political key: Ziolkowski takes us on a whistle-stop tour of late twentieth-century preoccupations, from successive crises in the Near East (109) to post-colonialism (109–10); the spread of psychoanalysis, both in a Freudian and a Jungian key (112–19); deconstruction (118–19); the rise of ecologism [End Page 669] (110, 123–35); and minority politics in the USA (135–38). Chapter 5, “Gilgamesh in the Twenty-First Century (2000–2009),” sets out to show that “Gilgamesh, who was born and flourished in the mid-third millennium b.c.e., is alive and well” (154). Ziolkowski identifies “a new focus” (167) on cultural and religious conflict in the wake of Samuel Huntington and the events of 9/11, although it must be said that the responses of Schrott and Begrich (171–78) do not fit this framework particularly well, and in practice much of the chapter seems designed to tie up loose ends. The book is equipped with a timeline of works discussed (199–205), end notes (207–20), and an index (221–26), but no bibliography. In lucid and unpretentious prose, Ziolkowski sets out what he sees as the most significant “Western” responses to the epic of Gilgamesh. He leaves the Near and Far East to “appropriately qualified scholars” (x): one hopes that others will take up the invitation, and that they will make connections with the materials explored in this book. Ziolkowski also passes over Latin America and the Caribbean—perhaps he felt there was nothing to say (for a possible starting point, see C...

This chapter discusses the role of exotica in the Mesopotamian mind. By 1875, The Epic of Gilgamesh had begun to emerge from the thousands of clay tablet fragments freshly unearthed in the remains of the great royal library of Assurbanipal at Nineveh. Gilgamesh’s drive to possess the exotic is rooted in long-standing Mesopotamian tradition. From the third millennium on, when he supposedly reigned, scholar-scribes organized and classified nearly all aspects of the natural world. Thematic lists of flora and fauna, heavenly bodies, precious and semiprecious materials, and topographical features provided the educated elite with a means of conceptualizing patterns and interrelationships. For Gilgamesh, as for many Mesopotamian rulers, the acquisition and display of exotica were key aspects of kingship. Once secured within the walled, urban cores of Mesopotamian cultural identity, exotica offered tangible signs of wide-ranging military might, commercial enterprise, and political status and control.

Hz. Âdem, insanoğlunun ilk atasıdır. İlâhî tabiatlı dinler, insanların Hz. Âdem ve Hz. Havvâ’dan doğdukları konusunda hemfikirdir. Hz. Âdem’in yaratılışı, cennetteki hayatı, şeytanla arasında geçen olay, cennetten inişi ve tövbesi neredeyse her kültürde ve dinî literatürde yer edinmiş konulardan bazılarıdır. Gılgamış Destanı başta olmak üzere Sümer-Asur yazıtlarında, Bâbil kitabelerinde bu konu insanların odak merkezinde olmuş ve tarihin değişik safhalarında insanoğlu tarafından müzakere edilmiştir. Hz. Âdem kıssası, Kitâb-ı Mukaddes’in üzerinde durduğu önemli konularından biridir. Kur’ân-ı Kerîm’de Hz. Âdem kıssası üzerinde durarak kıssayla ilgili insanların zihinlerine kazınan ve kültürlerde yer edinen yanlışları düzeltir. Ayrıca Kur’ân-ı Kerîm, Kitâb-ı Mukaddes’te olduğu gibi ayrıntıya girmeden sadece kıssayı nakleder. Bu yönüyle Kitâb-ı Mukaddes’ten ayrılır. Buna nazaran Hz. Âdem kıssasının Kur’ân-ı Kerîm’de ayrıntılara temas etmeden ana hatlarıyla anlatılışı insanları boşlukları doldurmaya itmiştir. Neticede, Yahudi ve Hıristiyan kaynakları (Tevrat, Zebur, İnciller ve diğer Apokrif kaynaklar) başta olmak üzere diğer kültürlerde Hz. Âdem kıssası ekseninde yer alan bilgiler İsrâiliyat adı altında İslâm kültüründeki yerini almıştır. Bu nedenle Hz. Âdem kıssası tefsir literatüründe en fazla İsrâiliyat barındıran kıssalardan biridir. Kıssa bu yönüyle çalışmamız açısından büyük önem arz etmektedir. Gerek ilk dönem gerekse son dönem müfessirleri Hz. Âdem kıssasını tefsir ederken İsrâilî rivayetlere yer vermişlerdir. Bu bağlamda Ebû Ca‘fer Muhammed b. Cerîr et-Taberî’nin (ö. 310/923) Câmi‘u’l-beyân ‘an te’vîli âyi’l-Kur’ân tefsiri hem kendisinden önceki müfessirlerin görüşlerini bünyesinde barındırması hem de ilk tam tefsir olması hasebiyle büyük önem arz etmektedir. Taberî, çalışmamızın odak noktasını oluşturan Hz. Âdem kıssasını tefsir ederken İsrâilî rivayetlere yer vermiş, sened ve metin yönünden herhangi bir eleştiri yapmamıştır. Bu nedenle pek çok âlim tarafından eleştirilmiştir. Aynı zamanda Taberî’nin, tarih içerikli Târîḫu’r-rusül ve’l-mülûk eserinde Hz. Âdem kıssasından bahsederken tefsirindeki İsrâilî rivayetlere yer vermesi insanı her iki eser arasında bir bağlantının olup olmadığını düşünmeye sevk etmektedir. Acaba Taberî bir tarihçi olarak mı, yoksa müfessir kimliğini kullanarak mı İsrâilî rivayetler nakletmiştir? Veya Taberî’ye tesir eden ve onu İsrâilî rivayetleri nakletmeye iten sosyo-psikolojik aktörler mi vardır? Zikredilen soruların cevaplandırılması çalışmamızın temel hedeflerinden birini oluşturmaktadır. Bu nedenle çalışmada, Taberî’nin Câmi‘u’l-beyân tefsirini esas alarak Hz. Âdem kıssası bağlamında Taberî’nin aktardığı İsrâilî rivayetleri kaynaklar eşliğinde açıklamayı, sened ve metin yönünden eleştirmeyi ve Taberî’nin İsrâilî rivayetleri aktarmasının asıl nedenini/nedenlerini belirlemeyi hedefledik. Çalışmada, öncelikle dökümantasyon metodu kullanılacak ve konuyla ilgili kaynaklar taranacaktır. Yanı sıra araştırmada karşılaştırma metodu da kullanılacaktır. Araştırmanın objektifliği için yapıcı eleştirinin yapılması şarttır. Bu metot sonucun sağlam temellere dayandırılmasına olanak sağlayacaktır. Yapıcı eleştiri, müellifi zan altında bulunmaktan koruyacak ve yöneltilen haksız eleştirileri de giderecektir. Çalışmamız kapsamında konuyla ilgili Taberî’nin İsrâilî rivayetleri aktarmasının arka planındaki farklı bir sonuca veya sonuçlara ulaşılmıştır. Bulgulara binaen nihai netice sonuç kısmında açıklanacaktır.

Book Review| October 01 2022 Review: Rap and Politics: A Case Study of Panther, Gangsta and Hyphy Discourses in Oakland, CA (1965–2010), by Lavar Pope Rap and Politics: A Case Study of Panther, Gangsta and Hyphy Discourses in Oakland, CA (1965–2010), by Lavar Pope. New York: Palgrave McMillian. 2020. 349 pages. 17 color illustrations. $79.99 (hardcover). ISBN: 978-1-349-96036 -1 Lakeyta M. Bonnette-Bailey Lakeyta M. Bonnette-Bailey Georgia State University Search for other works by this author on: This Site PubMed Google Scholar National Review of Black Politics (2022) 3 (3-4): 141–144. https://doi.org/10.1525/nrbp.2022.3.3-4.141 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Lakeyta M. Bonnette-Bailey; Review: Rap and Politics: A Case Study of Panther, Gangsta and Hyphy Discourses in Oakland, CA (1965–2010), by Lavar Pope. National Review of Black Politics 1 October 2022; 3 (3-4): 141–144. doi: https://doi.org/10.1525/nrbp.2022.3.3-4.141 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentNational Review of Black Politics Search Lavar Pope’s Rap and Politics: A Case Study of Panther, Gangsta and Hyphy Discourses in Oakland, CA (1965–2010) adds to the growing literature of the use of Black culture and art as a resistance mechanism and a counter-public for Black political experiences, expressions, and opinions in the United States. However, within the field of political science, there does not exist a comprehensive book on Hip-Hop culture focused specifically on one area or region. Thus far, the discipline has observed evaluation of rap music in general or examination of specific subgenres of rap, but not as a regional focus until the release of Pope’s book (Spence 2011; Bonnette 2015). Pope’s book is an excellent addition to political science and to Hip-Hop studies because his comprehensive text focuses on a specific area where Hip-Hop developed and the sound that was created in that area. Therefore, Rap and Politics is... You do not currently have access to this content.

Socio-religious values in a tradition play an important role in people's lives providing insight into the impact of globalization on cultural values in society. Although the existing literature mostly discusses various socio-cultural values in Indonesia, this article specifically focuses on the socio-religious values embedded in the gawe mensajiq tradition which is celebrated in the bale beleq (traditional house) geding kedaton by the people of Sukadana Village, Terara District, East Lombok Regency, and how this tradition is preserved. Using qualitative approach, this study was conducted in Sukadana Village, Terara District, East Lombok, West Nusa Tenggara. Data collection was carried out through observation, interviews and documentation. There are five informants involved in this study, consisting of two bale beleq traditional leaders, another two religious leaders, and a number of members of the local community. The results showed the identification of socio-religious values in the celebration of the gawe mensajiq tradition in the geding kedaton traditional house accompanied by an analysis of its development in the digital era and efforts to preserve this cultural heritage. Some of the socio-religious values inherent in the mensajiq tradition include piety, ethics and morality, purity, cooperation, material values, communal spirit, fostering relationships, tolerance, honor and responsibility. The tradition of gawe mensajiq in the Sukadana Village community has become a cultural practice that is rooted and embraced by residents. This tradition is considered a heritage that has been passed down from generation to generation thus fostering pride in the Sukadana community. The people of Sukadana consider gawe mensajiq to have positive values thus motivating them to continue to preserve this cultural tradition.