神器与神曲：偶然神化研究

IF 0.6 1区历史学 0 ARCHAEOLOGY

JOURNAL OF NEAR EASTERN STUDIES Pub Date : 2023-04-01 DOI:10.1086/723965

Michael B. Hundley

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引用次数: 0

摘要

*本文首次在2021年圣安东尼奥圣经文学协会年会上的《圣经世界中的邪教人员》和《希伯来圣经与同源文学》联合会议上以虚拟方式发表，重点关注邪教中的音乐;它从随后的讨论中受益。我想感谢匿名的JNES评论者，他们的评论是彻底而深刻的。1 .我所说的“拟人化”不仅指类似人类的形式，还指类似人类的机构、思想、情感、行为和治疗(见Hundley，“Here a God”[2013]:82-83;《众神中的耶和华》[2022]，31-32;pongratz - lelisten and Sonik，“Between Cognition and Culture”[2015]，第37卷。然而，正如我们将看到的，有生命和无生命、拟人化和非拟人化之间的界限是相当模糊的。对象在表面上缺乏能动性和动态性，而文本则把这两者都归于各种对象。此外，邪教形象的形式几乎没有说明人们如何理解它(重新)呈现的神。关于拟人化和象征形式，参见Hundley, Gods in民居[2013]，228-39，以及Pongratz-Leisten和Sonik，“Between Cognition and Culture”(2015)，23-24;将邪教形象视为一种呈现形式，而不仅仅是表现，见Gumbrecht, Production of Presence (2004)， 355;Pongratz-Leisten和Sonik，“认知与文化之间”(2015)，10-12。关于静态概念的概念，文本对神采取了一种特定于上下文的方法，甚至对某物是否神圣也采用了一种特定于上下文的方法本文通过探索美索不达米亚乐器的神化，提出了一个关于偶尔神化的语用学和修辞学的案例研究。然后，它转向对乌加里特语和希伯来圣经中较少的数据的初步调查，以了解传统之间的关系，以及美索不达米亚可能为其黎文特邻居的概念化提供了什么启示。在美索不达米亚，为什么只有特定的乐器是神圣的，而且只在特定的背景下?一些学者主张通过联想或传染来神化圣物，4和乐器，因为

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Divinized Instruments and Divine Music: A Study in Occasional Deification

* This article was first presented virtually in a joint session of Cultic Personnel in the Biblical World and Hebrew Scriptures and Cognate Literature at the annual meeting of the Society for Biblical Literature in San Antonio in 2021, focused on music in the cult; it benefited from the discussion that followed. I would like to think the anonymous JNES reviewers for their thorough and incisive comments. 1 By “anthropomorphic,” I refer not only to human-like form, but also to human-like agency, thought, emotion, behavior, and treatment (see Hundley, “Here a God” [2013]: 82–83; Yahweh Among the Gods [2022], 31–32; Pongratz-Leisten and Sonik, “Between Cognition and Culture” [2015], 37). However, as we will see, the boundary between animate and inanimate, anthropomorphic and non-anthropomorphic, is rather porous. While objects lack agency and animation on the surface, texts ascribe both to various objects. In addition, the form of a cult image said little about how people understood the deity it (re)presented. Regarding anthropomorphic and symbolic forms, see also Hundley, Gods in Dwellings [2013], 228–39, and Pongratz-Leisten and Sonik, “Between Cognition and Culture” (2015), 23–24; regarding a cult image as a form of presentation, and not merely representation, see Gumbrecht, Production of Presence (2004), 355; Pongratz-Leisten and Sonik, “Between Cognition and Culture” (2015), 10–12. Regarding the ing a static conception, texts adopted a context-specific approach to deities, even a context-specific approach to whether something was divine or not.2 This article presents a case study in the pragmatics and rhetoric of occasional deification by exploring the deification of musical instruments in Mesopotamia.3 It then turns to a preliminary investigation of the sparser data from Ugarit and the Hebrew Bible to see the relation between traditions and what light Mesopotamia may shed on its Levantine neighbors’ conceptualizations. In Mesopotamia, why were only certain instruments divine, and only in certain contexts? Some scholars argue for the deification of sacred objects by association or contagion,4 and musical instruments because

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来源期刊

JOURNAL OF NEAR EASTERN STUDIES Multiple-

CiteScore

1.20

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0.00%

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期刊介绍： Devoted to an examination of the civilizations of the Near East, the Journal of Near Eastern Studies has for 125 years published contributions from scholars of international reputation on the archaeology, art, history, languages, literatures, and religions of the Near East. Founded in 1884 as Hebraica, the journal was renamed twice over the course of the following century, each name change reflecting the growth and expansion of the fields covered by the publication. In 1895 it became the American Journal of Semitic Languages and Literatures, and in 1942 it received its present designation, the Journal of Near Eastern Studies. From an original emphasis on Old Testament studies in the nineteenth century.