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"shortTitle": "", "language": "Italian", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "Gilgamesh" }, { "tag": "letteratura" }, { "tag": "traduzione" } ], "collections": [], "relations": {}, "dateAdded": "2015-01-14T00:11:39Z", "dateModified": "2015-01-14T00:11:39Z" } }, { "key": "I2RIDSH2", "version": 2, "library": { "type": "group", "id": 132174, "name": "letteratura accadica", "links": { "alternate": { "href": "https://www.zotero.org/groups/letteratura_accadica", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/132174/items/I2RIDSH2", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/letteratura_accadica/items/I2RIDSH2", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1240353, "username": "lorenzoverderame", "name": "Lorenzo Verderame", "links": { "alternate": { "href": "https://www.zotero.org/lorenzoverderame", "type": "text/html" } } }, "creatorSummary": "Saporetti", "parsedDate": "2001", "numChildren": 0 }, "data": { "key": "I2RIDSH2", "version": 2, "itemType": "book", "title": "Il Ghilgameš", "creators": [ { "creatorType": "author", "firstName": "Claudio", "lastName": "Saporetti" } ], "abstractNote": "L'epopea del più noto personaggio della letteratura sumero-babilonese nell'ultima traduzione effettuata dall'originale cuneiforme delle dodici tavole rinvenute nella Biblioteca del re Assurbanipal (VII secolo) a Ninive", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2001", "publisher": "Simonelli", "place": "Milano", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "", "ISBN": "8886792263 9788886792264", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "Il Ghilgameš", "language": "Italian", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", 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[], "abstractNote": "", "websiteTitle": "", "websiteType": "", "date": "", "publisher": "", "place": "", "DOI": "", "citationKey": "", "url": "http://www.lasinodoroedizioni.it/libri/54/gilgamesh-l-epopea-del-re-di-uruk", "accessDate": "2014-11-25T22:17:52Z", "shortTitle": "", "language": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2015-01-14T00:11:39Z", "dateModified": "2015-01-14T00:11:39Z" } }, { "key": "VMJC4KT4", "version": 2, "library": { "type": "group", "id": 132174, "name": "letteratura accadica", "links": { "alternate": { "href": "https://www.zotero.org/groups/letteratura_accadica", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/132174/items/VMJC4KT4", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/letteratura_accadica/items/VMJC4KT4", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1240353, "username": "lorenzoverderame", "name": "Lorenzo Verderame", "links": { "alternate": { "href": "https://www.zotero.org/lorenzoverderame", "type": "text/html" } } }, "creatorSummary": "Steymans", "parsedDate": "2010", "numChildren": 0 }, "data": { "key": "VMJC4KT4", "version": 2, "itemType": "book", "title": "Gilgamesch. Ikonographie eines Helden", "creators": [ { "creatorType": "editor", "firstName": "Hans U.", "lastName": "Steymans" } ], "abstractNote": "Dieser Sammelband verfolgt zwei Ziele: Einerseits will er ein Kompendium zur Gilgame_-Ikonographie bieten. Zu diesem Zweck werden drei Untersuchungen nachgedruckt und durch neue Forschungsbeiträge ergänzt. Andererseits sollen Bildzeugnisse der Sammlung Bibel+Orient in Freiburg publiziert werden, die einen Bezug zu Themen der Gilgamesch-Legenden aufweisen. Die Begriffe \"Ikonographie\" und \"Ikonologie\" werden oft recht frei gebraucht. Um zu verstehen, welche Methode die Autoren dieses Bandes anwenden, ordnet sie ein einführender Artikel in die Wissenschaftsgeschichte der Archäologie und Kunstgeschichte ein. Ausgehend von Humbaba-Masken identifiziert R. Opificius im ersten nachgedruckten Artikel den Typus einer Dreiergruppe, in der zwei Helden den in der Mitte befindlichen Gegner besiegen, mit der Überwindung Humbabas durch Gilgamesch und Enkidu. Zusätzlich beschreibt sie den siegreichen König, der auf Humbabas Kopf steht, und zwei Helden, die den Himmelsstier besiegen. W. G. Lambert vergleicht in seinem ebenfalls nachgedruckten Artikel systematisch unterschiedliche Versionen des Epos mit bildlichen Darstellungen. D. Collon hat ihren Aufsatz, der in einer Festschrift für David Oates erschienen ist, für diesen Band aktualisiert und ergänzt. Der größte Teil des ikonographischen Materials, das den Kampf von Gilgamesch und Enkidu gegen Humbaba darstellt, findet sich auf Rollsiegeln und greift eine häufig auf Siegeln abgebildete Konstellation auf, nämlich den Dreifiguren-Kampf. Collon geht der Frage nach, wie der beschränkte Platz genutzt wurde, um Humbaba als Riesen erscheinen zu lassen, ohne die Bedeutung der Helden zu schmälern. Dieselbe Konstellation aus drei Figuren wurde auch bei der Darstellung der Tötung des Himmelsstiers zugrundegelegt, wobei der Stier das anthropomorphe Opfer ersetzt. Die beiden nächsten Beiträge stammen von Philologen. C. Mittermayer wirft ein Schlaglicht auf die Literaturgeschichte des Gilgamesch-Epos. D. Frayne untersucht, ob Keilschrifttexte und Rollsiegel des 3. Jahrtausends v. Chr. einen Bezug zu Gilgamesch aufweisen. U. Seidl beschreibt verschiedene altbabylonische Terrakotta-Reliefs, von denen einige aus der Sammlung Bibel+Orient stammen. Sie benennt zunächst vor-ikonographisch die Gegenstände und Figuren. Dann unternimmt sie eine ikonographische Analyse des Themas der Terrakotta-Releifes, welches sie als Gilgamesch’s Zug zum Zedernwald bestimmt. Das Bildprogramm, in dem man früher einen Wagen oder einen Tempeleingang vermutete, zeigt Gilgamesch als kriegerischen König. Unter ihm sieht man Enkidu als von Löwen flankierten Diener, Humbaba, den Feind, und Lugalbanda, den Vater des Gilgamesch, der an verschiedenen Orten auf dem Zug zum Zedernwald Wasser spendete. T. Ornan stellt schriftliche Versionen des Epos und Bilder nebeneinander. Mit Hilfe bildlicher Darstellungen, die älter sind als die schriftlichen Zeugnisse, kann sie die Entwicklungsgeschichte der Erzählungen und verloren gegangene Versionen rekonstruieren. M.-A. Ataç fragt nach der tieferen Bedeutung von Zeichen, Symbolen und Figurentypen mit Bezug zu Gilgamesch in der neuassyrischen Kunst. Er vergleicht Abbildungen aus der Glyptik und auf neuassyrischen Palastreliefs und argumentiert, der legendäre König von Uruk habe als Paradigma für die priesterliche Rolle der neuassyrischen Herrscher gedient, spirituelle Initiation und die Überwindung des Todes zu suchen. Dies würden Darstellungen von Heldentaten und der Jagd symbolisieren. H. U. Steymans stellt das Material über Gilgamesch in der Levante zusammen. Seine Liste umfasst die Keilschrifttafeln, die Handlungssequenzen der auf ihnen erhaltenen Texte und das Bildmaterial. Zwei Rollsiegel analysiert er ikonographisch. Das erste, aus der Sammlung Bibel+Orient, zeigt einen Ringkampf, das zweite stellt möglicherweise Gilgamesch und Enkidu bei der Auswahl der Zeder dar. Abschließend zeichnet er den Einfluss des Epos auf die spätere Literatur der Levante nach.\nThis collection of articles has two aims: The first is to create a comprehensive compendium of iconography on Gilgamesh, that includes three formerly published and several new papers on the visual representation of Gilgamesh. The second is to publish some objects of Near Eastern art from the Bible+Orient Collection in Fribourg, which relate to Gilgamesh. The terms ‘iconography’ and ‘iconology’ have often been used loosely. In order to understand which method the authors of this book apply, an introductory article connects them to the history of the academic disciplines of archaeology and of art history. Starting from masks representing Humbaba, R. Opificius in the first reprinted article, identifies the type of a three-figure-contest-scene with Gilgamesh and Enkidu vanquishing Humbaba. In addition to this she describes two other types of representation, namely the bellicose king standing on Humbaba’s head and that of two heroes fighting the bull of heaven. In his reprinted article, W. G. Lambert systematically compares different versions of the epic with imagery. D. Collon has reedited and updated her article, originally published in a Festschrift for David Oates, for the present reprint. Most of the iconography relating to the fight of Gilgamesh and Enkidu against the giant Humbaba was executed on cylinder seals, and adopts a composition frequently found on seals - namely the three-figure contest. The article examines the many ways in which the limited space was adapted over the centuries so that Humbaba looks like a giant but does not make the two heroes look less important. The same three-figure composition was also adopted for the depiction of the killing of the Bull of Heaven, where the Bull replaces the anthropomorphic victim. The next two contributions are by philologists. C. Mittermayer highlights the literary history of the Gilgamesh Epic. D. Frayne examines the question of whether some cuneiform texts and cylinder seals from the third Millennium BCE refer to Gilgamesh. U. Seidl offers a pre-iconographic description of several Old Babylonian terracotta reliefs, some of them from the Bible+Orient Collection, discussing the depicted objects and figures and their stylistic rendering. Then she presents an iconographic analysis of the theme, which she identifies as Gilgamesh’s journey to the cedar forest. The pictorial program, previously thought to represent a wagon or a temple entrance, shows in fact Gilgamesh as the warrior king above small figures of Enkidu as a servant flanked by lions and representations of Humbaba, the enemy, and Lugalbanda, Gilgamesh’s father who offered water at several places on the journey to the cedar forest. T. Ornan aims to juxtapose the written version of the epic and the pictorial scenes alluding to the narrative, suggesting that we may reconstruct both the early history of the narrative and other, now lost, versions through pictorial representations, which are older than the written ones. M.-A. Ataç looks for the deeper meaning of signs, symbols, and figural types related to Gilgamesh in Neo-Assyrian art. 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