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Medeniyetin beşiği olarak adlandırılan Mezopotamya; Dicle ve Fırat nehirleri arasında kalan bölgedir. Mezopotamya adı ilk kez Polybius, Strabon gibi antik yazarlar tarafından kullanılmıştır. Tarihte birçok medeniyetin doğduğu, uğruna nice savaşların olduğu bölge; bugün Irak, Kuzeydoğu Suriye, Güneydoğu Anadolu ve Güneybatı İran topraklarından oluşmaktadır. İnsanlık tarihi açısından çok büyük öneme sahip olan Mezopotamya’da; Prehistorik dönemlerden itibaren pek çok farklı insan toplulukları yaşamıştır. İnsanoğlu varoluşundan itibaren ilahi bir güce inanma ihtiyacı duymuştur. Bu noktada tarihin temellerinin atıldığı bölgedeki inanç sistemi; coğrafi konumunun da etkisiyle, adeta bir köprü görevi üstlenerek pek çok uygarlığa geçmiştir. Çalışmamızda Mezopotamya’nın en önemli tanrıçalarından biri olan; adına pek çok tapınağın inşa edildiği, aşk, bereket ve savaş tanrıçası Astarte’nin; Sümer tanrıçası İnanna’dan, Roma tanrıçası Venüs’e olan yolculuğu değerlendirilmiştir.

Mesopotamia, called the cradle of civilization, is the region between two rivers (Tigris and Euphrates). The name of the region, which today consists of Iraq, Northeast Syria, Southeastern Anatolia and Southwest Iran, was first used by ancient writers such as Polybius and Strabo. Mesopotamia, which has great importance in terms of human history; At the same time, it has hosted many civilizations in history with its fertile lands, where the first civilizations such as Sumer, Babylon, Akad and Assyria were founded. Another important feature of the region, which has a very rich cultural background, is the abundance of religious elements. Since its existence on earth, human beings have questioned their reason for existence and felt the need to believe in a divine power. At this point, the belief system in the region where the foundations of history were laid; It was transferred to subsequent civilizations through the Sumerians, one of the first known civilizations, who invented a writing system based on cuneiform in 3200 BC. In our study, one of the most important goddesses of Mesopotamia; The journey of Inanna, the goddess of love, fertility and war, for whom many temples were built, to the Roman goddess Venus was evaluated. [ABSTRACT FROM AUTHOR]

The finds constituting the scope of the present article are two terracotta plaques related to the iconography of Astarte which are currently kept in the depot of the Muğla Museum. Because the plaques were acquired through purchase,no information is available regarding their geographical context. As a result, their dating and evaluation are based entirely on comparison and stylistic analyses. The first artefact depicts a draped female figure, standing, holding her breasts with both hands; the second artefact depicts a woman playing a tambourine or similar percussion instrument whose function and iconography are not well-known. Their styles and iconographic features as well as their production technique involving the use of molds indicate a specific region. These plaques, which are part of an authentic work, feature different types of iconography, henceforth making them important for their contribution to the existing repertory. Each work is a unique example and is evaluated overall by their technical features, iconography, ritual contexts, functions and stylistic features of their periods; and some possibilities regarding their provenance are explored. Mold made terracotta panels depicting a female figure standing facing forward, referred to as “Astarte plaques” or “Astarte panels”,bcame into wider use during the Bronze Age and their production continued increasingly during the Iron Age. Production of plaques similar to TK.1 started from the end of the Akkadian Period at the earliest and continued well into the Hellenistic Period across a vast geographic area encompassing North Syria and neighboring regions. With the Persian Achaemenid Empire, a new phase in iconography and the technology used to produce it began. In this phase, figurines became mass produced and rendered in much higher detail as allowed for by the advancement in mold production. In addition to naked Astarte figures produced before the Persian Period, the novelty of draped figures similar to TK.1 was introduced in mass production. Specimens of various naked and draped Astarte figures can be found throughout Anatolia, Syria, Palestine, Cyprus, Egypt, Corinth, Rhodos, Sardinia and Susa. Astarte plaque TK.1 is thought to reflect the figural art of the ancient North Syrian Period; Based on comparison to similar figures, it may have served as a votive offering and may have come from a site in south-eastern Anatolia, which was under the influence of Mesopotamia. Thus in this context it can be said that plaques with Astarte depictions in Anatolia emerged as a direct result of cultural interactions between Anatolia and the Near East. That figures reflecting the drummer or tambourine player tradition such as TK.2 as being associated with the goddess Astarte is the most valid among numerous postulations proposed by scholars. In this regard, the plaque TK.2 may be interpreted, considering the cult of fecundity, as a votive offering presented to a goddess associated with fecundity in the Archaic Period. Such figures displaying variants technically and iconographically can be traced to cultural centers such as Anatolia, Syria-Palestine, Jordan, Tunisia, Italy, Cyprus, Carthage and Ibiza.

Copyright of Arkhaia Anatolika: The Journal of Anatolian Archaeological Studies is the property of Arkhaia Anatolika and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Få romaner i svensk modernistisk litteratur skildrar den urbana moderniteten med sådan medvetenhet om samtida idéströmningar som Karin Boyes Astarte (1931). Men om Boyes roman handlar om moderniteten så är den också teknologiskt villkorliggjord av densamma. Artikelns syfte är att blottlägga dessa mediehistoriska villkor genom en undersökning av romanen utifrån den ljus- och uppmärksamhetsregim – en syntes av begrepp av Jonathan Crary och Gilles Deleuze – som framträdde omkring 1930 till följd av det elektriska ljusets genombrott i urbaniteten och en arkitektonisk strukturomvandling av biografen. Skyltfönsterbelysning, ljusreklamer, neonskyltar och de nya biografpalatsens avancerade ljusspel bidrog vid den här tiden till en ökad styrning av människors perception och rörelsemönster, och artikeln visar hur denna regim strukturerar den kritik av konsumtionssamhället och masskulturen som gestaltas i romanen.

Copyright of Archivo de Prehistoria Levantina is the property of Museu de Prehistoria de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ten years ago, on the occasion of the publication of the fortieth number of the Rivista di Studi Fenici, I had the opportunity to begin my line of research on the problem of Phoenician identity. The main purpose of my contribution published in that issue, which had the emblematic title “Fingere l’identità fenicia”, was to explore some of the problems that I considered fundamental to a renewed formulation of the question (which was first raised in 1963 by Sabatino Moscati). A decade on from that contribution, therefore, on the occasion of the fiftieth issue of the Rivista di Studi Fenici, I would like to revisit the main aspects of the problem, exploring some parts of it in more depth. Above all, I aim to reflect on the point we have now reached in relation to a theme that is central – as identity certainly is – to studies dedicated to Phoenician culture. [ABSTRACT FROM AUTHOR]

L’objectif de cet article est de traiter l’importance de la mythologie dans la poésie arabe moderne. Les figures mythiques constituent une riche source d’inspiration et un important moyen d’expression utilisés par les auteurs avant-gardistes de la poésie arabe moderne. En effet les précurseurs de cette forme de poésie soutiennent que les moyens d’expression de la poésie Classique hérités des anciens ne peuvent exprimer les sentiments enfouis dans le subconscient des jeunes poètes arabes; alors que les figures mythiques permettent à l’homme moderne de donner son avis sur le sens de la vie l’univers l’existence les valeurs etc. Les principaux poètes qui ont le plus utilisé les figures mythiques sont Abd al-Wahab al-Bayati Badr Shakir as-Sayyab, Salah Abd as-Sabur. - The purpose of this article is to treat the importance of the Mythology in Modern Arab Poetry. The mythical figures make up an important medium of expression used in the Modern Arab Poetry. In fact, the pioneer of Modern Arab Poetry argues that the classical poetic way of expressing heritated from the preceding generations cannot no more express ideal feelings hided in the subconscious of contemporary poets. Whereas the use of mythical figures allows the modern man to show his vision of live, universe, existence, values, imagination, inspiration, etc. The main poet Arab which use the mythical figures in their poems are: Abd al-Wahâb al-Bayati, Badr Shakir as-Sayyâb, Salâh Abd as-Sabûr.

The presence of foreign deities in the Egyptian pantheon must be studied in the light of the openness of Egyptian polytheism and as a reflection on cultural identity. Even if Egyptian self-identity was defined as intrinsically opposed to the Other, i.e. the foreigner, Egypt always maintained contact with its neighbors, particularly Nubia and the Near East. These intercultural contacts had an effect on the religion. Since the earliest times, deities like Dedoun, Ha, or Sopdu formed an integral part of the Egyptian pantheon, so much so that their likely foreign origin is not immediately perceptible. Particularly important is the introduction of a series of Near Eastern deities into the established pantheon at the beginning of the New Kingdom, under the reign of Amenhotep II. Receiving cult from both the state and private individuals, these deities were worshiped under their foreign name while depicted in Egyptian fashion. Their principal function was providing protection. It is the very nature of Egyptian polytheism that allowed for foreign divinities to acquire the same status as the indigenous gods.

Se presenta un colgante de bronce calado con la representación esquemática y casi simétrica de una figura antropomorfa, que suele interpretarse como una divinidad relacionada con los animales. Este fue hallado en algún punto desconocido del entorno del municipio conquense de Puebla del Salvador y se trata de un modelo del que se conocen otros ejemplares en dos yacimientos ibéricos levantinos de Valencia y Alicante: La Bastida de les Alcusses y El Puntal de Salinas, y en uno céltico vettón de Ávila: La Osera. El colgante de la provincia de Cuenca puede ser la confirmación de una vía de comunicación septentrional hacia el interior de la península ibérica desde la costa mediterránea.

Presentamos un análisis arqueoastronómico de la orientación de seis santuarios y edificios de carácter público protohistóricos en sitios arqueológicos situados en el mediodía de la Península Ibérica (Coria del Río, El Carambolo, Saltillo, Mesa de Setefilla, Tejada la Vieja y El Oral). El estudio, el primero de este tipo que se realiza sobre una muestra de santuarios del Hierro Antiguo en esta área geográfica, se basa en la medida precisa de las orientaciones definidas por los edificios y el análisis del horizonte que les rodea y revela claros vínculos astronómicos. En particular, los edificios de culto muestran unas características similares y una orientación hacia un acimut de 55°. Las regularidades encontradas parecen sugerir la posible existencia de credos y rituales religiosos relacionados con posiciones singulares de los astros principales visibles a simple vista, como el Sol, la Luna o Venus.

We present a compilation of orientations of seven temples dedicated to the Phoenician goddess Astarte across the Mediterranean. The chronology of the earliest temple corresponds to the Early Bronze Age - temple of Baalat Gebal at Byblos, 2800 BCE - but the rest dating back to the Iron Age, from IX to IV BCE. We find that most temples follow a sun-rising or moon-rising orientation pattern but three of them show westerly orientations in the range of azimuth between 232° and 239°. These values are consistent with the orientation custom found by Esteban & Escacena (2013a, b) in a sample of Iron Age sanctuaries of the southern half of the Iberian Peninsula that show direct influence by Phoenician colonisation. One of the potential targets of these westerly orientations is the setting of Venus at its extreme southerly position. This possibility can be related to the well-known ties between the Phoenician goddess Astarte and planet Venus. [ABSTRACT FROM AUTHOR]

This paper aims to re-examine some aspects of two Phoenician inscriptions – namely those from Malta dedicated respectively to the gods á¹¢dmb

Biostratigraphically and chronostratigraphically important diatoms from the Milky River Formation, Alaska Peninsula, southwestern Alaska, imply an age range of 5.4–5.5 Ma for the oldest North Pacific Cenozoic occurrence of the marine bivalve mollusk Astarte, which migrated from the Arctic Ocean into the North Pacific when Bering Strait first flooded. The data presented here are a refinement of the age range of 4.8–5.5 Ma reported earlier and imply that Bering Strait first opened very near the end of the Miocene at 5.32 Ma. [Copyright &y& Elsevier]