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Testing the Canon of Ancient Near Eastern Art and Archaeology invites readers to reconsider the contents and agendas of the art historical and world-culture canons by looking at one of their most historically enduring components: the art and archaeology of the ancient Near East. Ann Shafer, Amy Rebecca Gansell, and other top researchers in the field examine and critique the formation and historical transformation of the ancient Near Eastern canon of art, architecture, and material culture. Contributors flesh out the current boundaries of regional and typological sub-canons, analyze the technologies of canon production (such as museum practices and classroom pedagogies), and voice first-hand heritage perspectives. Each chapter, thereby, critically engages with the historiography behind our approach to the Near East and proposes alternative constructs. Collectively, the essays confront and critique the ancient Near Eastern canon's present configuration and re-imagine its future role in the canon of world art as a whole. This expansive collection of essays covers the Near East's many regions, eras, and types of visual and archaeological materials, offering specific and actionable proposals for its study. Testing the Canon of Ancient Near Eastern Art and Archaeology stands as a vital benchmark and offers a collective path forward for the study and appreciation of Near Eastern cultural heritage. This book acts as a model for similar inquiries across global art historical and archaeological fields and disciplines.
A fascinating history of the Jews, told by a master novelist, here is Chaim Potok's fascinating, moving four thousand-year history. Recreating great historical events, exporing Jewish life in its infinite variety and in many eras and places, here is a unique work by a singular Jewish voice.
The current state of scholarship on the book of Ezekiel, one of the three Major Prophets, is robust. Ezekiel, unlike most pre-exilic prophetic collections, contains overt clues that its primary circulation was as a literary text and not a collection of oral speeches. The author was highly educated, the theology of the book is "dim," and its view of humanity is overwhelmingly negative. In The Oxford Handbook of Ezekiel, editor Corrine Carvalho brings together scholars from a diverse range of interpretive perspectives to explore one of the Bible's most debated books. Consisting of twenty-seven essays, the Handbook provides introductions to the major trends in the scholarship of Ezekiel, covering its history, current state, and emerging directions. After an introductory overview of these trends, each essay discusses an important element in the scholarly engagement with the book. Several essays discuss the history of the text (its historical context, redactional layers, text criticism, and use of other Israelite and near eastern traditions). Others focus on key themes in the book (such as temple, priesthood, law, and politics), while still others look at the book's reception history and contextual interpretations (including art, Christian use, gender approaches, postcolonial approaches, and trauma theory). Taken together, these essays demonstrate the vibrancy of Ezekiel research in the twenty-first century.
This book presents approximately 450 illustrations of mythic art from Mesopotamian, Egyptian, Indian, Chinese, European, and Olmec cultures as a basis for an exploration into the relation of dreams to myth.
Psalm 49's hints about the afterlife would have been clearly understood in the Ancient Near East, but today they are are less obvious. Smith brings together readings from the literature of both ancient Israel and its neighbours to enrich an understandingof Psalm 49 capable of developing the readers comprehension of the concepts of Sheol and redemption for the righteous that represent Israel's unique contribution to beliefs about afterlife. Dust or Dew brings together ancient and modern soteriology that sheds new light on both the Old and New Testaments. The author of Psalm 49 reminds all men and women everywhere that death is inevitable and that all pride turns to ashes and worms. Estates are left behind. Death feeds on the corpse. What happens to the soul is the real thrust of the author's production and the theme of this present exploration. The author painted afterlife with the broadest of brushes. His focus was the pride of the rich, but hints at hope for the righteous.'