Wednesday, August 26, 2020

The Different Flood Myths

The Different Flood Myths In the accompanying paper, I will look at the flood legend that is written in The Epic of Gilgamesh, and contrast its similitudes and contrasts with the one that is found in the Book of Genesis. In the two works, there is a massive flood that inundates the earth. The inquiry that remaining parts to be addressed is, is this a similar flood recorded in the two writings? The relating components that happen between the two writings have been to some degree a perplexing issue for certain scientists. On first hypothesis, it is reasonable for state that both harmonize with one another because of the significant likeness between them. Nonetheless, unobtrusive contrasts could demonstrate something else. The flood legend in The Epic of Gilgamesh was composed something close to 2750 and 2500 BCE [1] , while the Book of Genesis 6-9 was composed around 500BC [2] . One might say that the Biblical writers knew about the flood recorded on Tablet XI and may have adjusted it to compare with th e compositions of the Biblical content. Alexander Heidel investigates three focal speculations about how the two records might be connected. He expresses that first, the Babylonians obtained from the Hebrew record; second, the Hebrew record is subject to the Babylonian; third, both are dropped from a typical original. [3] Heidel proceeds to state that on the grounds that The Epic of Gilgamesh was composed before the Book of Genesis The most broadly acknowledged clarification today is the second, in particular, that the scriptural record depends on Babylonian material. [4] However, a hypothesis of this nature causes some contention inside the Christian confidence as one might say that it tangle question the unwavering quality of the Bible. As I have recently expressed, the two legends share a significant number of similar components. Merrill F. Unger accepts that when contrasting the two, there are sure segments that must be taken a gander at, so as to make and comprehension of the two records; the first being that the flood was arranged by the god in both The Epic of Gilgamesh and the Book of Genesis. Besides, that an admonition was given to the two heroes preceding the flood occurring. Thirdly, is that the flood is associated with the obliteration of humankind. Another being, the hero and his family were permitted to escape from the catastrophe. The structure of the vessel to secure different living things is another. Additionally, what ought to be noted is the physical pulverization of each flood and its length. The arrival spot of the vessel ought to likewise be referenced and the discharging of the winged creatures. At long last, the last comparative component that ought to be talked about are the penances the legends introduced to their divine beings and what they got in return. [5] Although these likenesses can't be overlooked, Kenneth A. Kitchen says that there are likewise numerous distinctions that go through every one of the flood account s, despite the fact that the general similitudes recommend an unmistakable connection between the two traditions. [6] Kitchen proceeds to state that it is these distinctions that gives an away from of why the flood occurred, that they characterize the characters of the divine beings and heroes. By utilizing explicit subtleties, for example, the arrival spots of the boats, the discharging of the fowls, numbers and sexual orientations of the enduring creatures and people and the structure of the boats, we can look at the distinctions, empowering one to consider the connection between the flood accounts in both The Epic of Gilgamesh and the Book of Genesis. [7] Both stories enlighten a story concerning an honorable figure who is educated by divine creatures that an incredible flood will decimate the earth. In The Epic of Gilgamesh, the primary hero of this legend, Utnapishtim, is met by Gilgamesh while on his excursion in quest for everlasting status. Utnapishtim is asked by Gi lgamesh how he got godlike and that is the point at which he informs him regarding the flood that occurred in a city called Shurrupak, which remains on the banks of the stream Euphrates. [8] It is the clamor that man causes the Gods to esteem to be grievous, so they choose to wipe out the entirety of humanity. The lord of waters, Ea, is the one to caution Utnapishtim of what is going to come. [9] In the Book of Genesis, God perceives how man has gotten fiendish, so thus, God feels it important to flood the earth and be freed of man. We discover that Noah is seen by God as an honest man and is saved, [Noah]found beauty according to the Lord. [10] Noah is then advised by God to manufacture an ark and take the two his family and two of each creature with him. The primary closeness to see here is the utilization of heavenly contribution in the two fantasies. Be that as it may, it is here where a distinction happens. In the Book of Genesis, it is clear that monotheism (just a single god) is available. While, in The Epic of Gilgamesh, it is obvious to see that polytheism is noticeable (more than one god). As expressed already, the divine beings in The Epic of Gilgamesh need to flush out humankind as a result of their commotion. The mayhem of humanity is heinous and rest is not, at this point conceivable by reasons of the babelâ [11]â . While in Genesis, God floods the earth due to the underhandedness of man. It atoned the Lord that he had made man on the earth, and it lamented him at his heart. [12] I will obliterate man whom I have made from the substance of the earth. . . . [13]â also, keeps an eye on destiny is to bite the dust in the epic, yet in Genesis, Noah attempts to spare the malevolence by lecturing them. This again is a striking distinction between the two legends. Moreover to this, in both the Book of Genesis and The Epic of Gilgamesh, the saint of the story is cautioned before confronting the serious debacle and vessels are worked to shield them from the cataclysmic flood, to keep up the life of every species. Utnapishtim is advised not to take anything of worth on the vessel, yet does so at any rate. Like in the Book of Genesis, creatures are taken on the pontoon and the tempest proceeds for six days and nights. [14] In the epic, Utnapishtim is cautioned however a fantasy by Ea, though God enlightens Noah concerning the coming flood in Genesis, and it downpours for forty days and forty evenings. Something that can likewise be found in the two records is the utilization of the number seven. In the Book of Genesis the world was made in seven days. The number seven additionally shows up in the flood account. Following seven days the waters of the flood were upon the earthâ [15]â . This is additionally obvious in The Epic of Gilgamesh. In spite of the fact that the downpour just goes on for six days and six evenings, when the tempest quiets and the pontoon lands, it stays there for seven days. In the epic , the tempest quiets on the seventh day and the vessel stops at the heap of Nisir. Following seven days, Utnapishtim discharges winged animals from the pontoon. This is likewise corresponding whatever occurs in the Book of Genesis. In The Epic of Gilgamesh, Utnapishtim discharges three feathered creatures from the vessel. First he discharges a pigeon which returns in light of the fact that there is no food or resting place. A flounder is then conveyed, yet at the same time returns. At that point at long last, a raven is liberated and doesn't return, which means it has discovered land and food. I loosed a dovebut finding no resting-place she returnedthen I loosed a swallow, and she took off however finding no resting-place she returnedI loosed a ravenand she didn't come backâ [16]â . In the Book of Genesis, Noah likewise does this however just utilizing two flying creatures. Initial a raven that profits and besides a bird that brings back an olive branch. One might say that the oli ve branch is utilized as an image of harmony and that mankinds enduring has now arrived at an end. [17] In expansion, a raven could be viewed as a delivery person of the divine beings, so by utilizing this specific types of feathered creature in every fantasy, it features the forces that the gods have in the two writings. In any case, the inconspicuous contrast is that in the Book of Genesis, the raven was fruitless, though in Gilgamesh it was the raven who discovered land. This could connection to my prior point that in the epic, that the destiny of humanity will consistently lay in the possession of the divine beings. However, in Genesis, the image of harmony, proposes that God has stopped the discipline of humankind and will let them start another life. Another similitude is that both Utnapishtim, in the epic, and Noah, in Genesis thank the Gods for saving them from the flood. Be that as it may, they offer their thanks in various ways. In Gilgamesh, Utnapishtim spills out a d rink on the highest point of the mountain. [18] Yet, Noah fabricates a special raised area for God. At that point Noah constructed a special stepped area to the Lordâ [19]â . Besides, the two heroes make a penance once the flood had finished. In the Book of Genesis, Noah is advised by God to leave the ark, Leave the ark, you and your significant other, your children and their wives [20] Noah at that point makes a penance to God by consuming a few creatures on the special raised area that he made. In The Epic of Gilgamesh a penance is additionally made to the Gods. However, when Utnapishtim offers a penance, Enlil is maddened in light of the fact that Utnapishtim was avoided from the demolition of all man. At that point Ea convinces Enlil that Utnapishtim got away through his own methods, and Utnapishtim is at that point allowed eternality by Enlil. At long last, there is an image appeared, in the two writings, to demonstrate that the earth won't be overwhelmed by the divin e beings once more. In Gilgamesh there is a jewelry and it is shouted that the divine beings won't overlook these daysâ [21]â . While in Genesis a rainbow shows up. I do set my bow in the cloud, and it will be for a token of an agreement among me and the earth. [22] Both flood accounts in The Epic of Gilgamesh and the Book of Genesis are incredibly indistinguishable just as having significant contrasts. As the wellspring of each flood story varies between the two, there can be a few ends raised about the Babylonian culture in contrast with the Hebrew culture. As expressed beforehand, polytheism is evident all through the Babylonian culture and they accept that the divine beings are discrete from one another and that they have limited force. In this way, the individuals can't generally depend on the divine beings to be remunerating to the serving and the equitable. Also, monotheism is u

Saturday, August 22, 2020

Psychological Survival - Cohen and Taylor Essay Example for Free

Mental Survival Cohen and Taylor Essay 1) Aim of the examination Get a phenomenological image of long haul detainment for example the examination of the consistently life of long haul detainees. The smooth designing of consistently life is the consequence of social associations and finding out about schedules and the various areas of life. In any case, a few circumstances are outside the schedules (demise, feeling of self or world view undermined). Upset deliberateness brings importance of life into question and frequently people depend on an alternate area. Long haul detainees can't do this. Theirs is a real existence in chilly stockpiling. Mentally difficult to manage life outside. A few people go in when 20 and don’t leave before they’re 40, so a great deal has gone on in regular day to day existence and they’ve missed it. 2) Cohen and Taylor not so much inspired by the wrongdoing submitted and the ethical issues behind it. They are simply keen on how jail influences this gathering of individuals. Society has been detracted from these individuals. A portion of the individuals are notable, however they set aside what these individuals have been indicted on, they simply need to think about their mental endurance. 3) Life inside Allegory of a submarine: Impregnability, unfilled, claustrophobic, inert, insipid no characteristic light, TV cameras. Things we underestimate in typical life, friendliness and security, are not there. Relatively few companions you can have or decide to have. Connections among gatekeepers and detainees, perhaps from a comparative social foundations, have a great deal to discuss. In the E-wing case there was an exceptionally articulated topographical gap, north and south. Detainees have an open profile outside, very popular and it puts them beside the watchmen. A feeling of big name in a portion of the detainees. This makes a division among watchmen and detainees. New force dynamic. Not just difficult to make and keep up connections inside difficult to do as such with the outside world. The detainees were more stressed over getting letters as opposed to accepting them. No physical contact, for example individuals from your family. Not permitted to discuss conditions in the jail possibly that is the reason they needed to get their accounts heard with Cohen and Taylor. Segregating experience. 5) unique individuals satisfy distinctive social jobs. Clearly there was a little pool in jail. One companion needed to satisfy a wide range of jobs, which made kinship extremely solid and exceptional. A few people were moved continually and losing your one companion can be horrible. Force of connections and dropping out, which will affect the gathering and on you. No security no time. Can’t create closeness with others. Continually encompassed by others. Communications managed inside the gathering to ensure no one got hurt. 6) time implies various things. For us it’s an asset. Living the current they don’t face or think about the 20 years ahead. Stamping time in various manners: state of mind, seasons, unordinary markers. Make time pass quicker: weight training, college courses, and so forth guarantee of a visit. two months visit for example 7) decay over the top worry about their physical and mental condition. 8) history of uproars, uprisings and security. Cohen and Taylor keen on solidarity. The disdain towards monitors held the gathering together, assisted with holding. Retaliate together. 9) authority and solidarity various circumstances lead to various sorts of solidarity 10) retaliating 11) diverse criminal professions lead to various methods of mental endurance. Notes from a talk and workshop on Psychological Survival.

Friday, August 21, 2020

Magical Realism is For Us By Us and Toni Morrison was the Queen

Magical Realism is For Us By Us and Toni Morrison was the Queen I quit my job last year to become a writer; it was one of the wildest, most impulsive things I’ve done in my whole life. I began writing my novel and every time someone asked about what genre it was, I struggled. “It’s fantasy, but also kind of sci-fi,” I would stutter, knowing that the description was still incomplete. “It’s kind of magical adventure, but a little bit sci-fi,” I tried out later. Nothing fit. Months later, amidst many starts and stops and identity crises in my new writing life, a friend invited me to a reading and book talk with celebrated fantasy author N.K. Jemisin. I had heard of her, but had never read her work. I walked in late, as she read a short story, “Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters.” It was riveting, it was beautiful, it was surprising, but it was not fantasy, not in any way I understood it to be. As she read, I kept thinking, “I thought she was a fantasy writer. This feels like magical realism to me.” During QA, an audience member asked Jemisin how she decides on the rules of the magic in her world, and her answer was perfect: “I don’t. Magic doesn’t have rules, so I don’t write them.” Her words, her dismissal of the belief that her magic should ascribe to some regimented, Dungeons and Dragonsâ€"esque system, and her refusal to categorize her work in the ways her mostly white, male counterparts expected she should, was breathtaking and life-giving to me as a fledgling author. Around the same time, Toni Morrison was turning 88, her new book, The Source of Self-Regard, was being published, a documentary about her career was being teased, and a certain infamous clip of her in all of her fiery glory was getting new life on the internet. Slate published an incredible article entitled, “On Black Difficulty: Toni Morrison and the Thrill of Imperiousness” and after reading it, I knew I had to leave the misgivings I had about Beloved as a teenager aside and give this inspiringly difficult woman and her writing another try. Suddenly, my reading was all magical realism every day: Morrison, Hurston, Allende, and Jemisin. I was suddenly, gloriously immersed in a world crafted by Black and brown women and shaped in the image of me, the Black and brown women I love, and our experiences of life and living. What I found when I delved into the works of Toni Morrison was the very thing that had turned me off when I was reading her novel in Mrs. Crowder’s 10th grade English class: a world rooted in magic that was at once glorious and profound but also unpredictable and cruel. A world where the protagonists did not wield wands, but learned to love and adapt to the strange, unpredictable things, both good and bad, that the unspoken magic of the world brought their way. “It’s inconceivable that where I already am is the mainstream,” Morrison once said in her calm, eviscerating critique of Jana Wendt’s interview questions, and how right she was. White authors and other writers have historically used magic as a tool to aid their heroes’ journeys, to support their claims to righteousness and destiny, and to be manipulated to ensure their victory. Black and brown women in the magical realism tradition write about something different; a world saturated with haints and supernatural occurrences, none of which their characters should ever attempt to control. A world in which one must, with wonder, observe the ebb and flow of that magical power, jump in when you can and jump out if you dare, or else be drowned. A world intimately familiar to the Black mainstream whose song Morrison was singing. In this kind of world, one must accept and wrestle with the haunting of one’s house by the grown-up ghost of a murdered child, one can only marvel at the strange and immutable reality of three men from different families who are identical and also not over four feet tall, and one has to navigate a reality in which magical lizards caused the most devastating storm a city has ever seen. In the realm of magical realism, magic is not always triumphant; the same power that makes a protagonist’s hair a lustrous green is the same cruel master that can leave generations cursed. In magical realism, time is not fixed, constant, or predictable. Morrison, Allende, Hurston, and others write as Black and brown people know the world to exist: in patterns, in loops, in circles, and not in the clean, linear ways western cultures demand we understand the world. The same thing that is happening now is also happening several generations prior and is also happening some time in the future. Time is now and yesterday all at once. The present is shared with our ancestors and our children alike. I read the news of Toni Morrison’s death with an overwhelming sadness. In a lifetime of writing, she has shaped this world profoundly with her work and defied a society that would attempt to tame or gentrify her brilliance. I believe emphatically that her novels and her essays are a conduit through which the voices of generations of Black people speak, millions of whom died before she was even born. She’s served as a rallying point and inspiration for generations of authors and readers. Shes proved that something as beautiful as literature for us, by us can exist with no compromises. And most notably, she has forever expanded the reaches of a writing tradition that centers brown and Black people and adorns their lived experiences and ancestral knowledge with the fearful and wondrous power they deserve.

Magical Realism is For Us By Us and Toni Morrison was the Queen

Magical Realism is For Us By Us and Toni Morrison was the Queen I quit my job last year to become a writer; it was one of the wildest, most impulsive things I’ve done in my whole life. I began writing my novel and every time someone asked about what genre it was, I struggled. “It’s fantasy, but also kind of sci-fi,” I would stutter, knowing that the description was still incomplete. “It’s kind of magical adventure, but a little bit sci-fi,” I tried out later. Nothing fit. Months later, amidst many starts and stops and identity crises in my new writing life, a friend invited me to a reading and book talk with celebrated fantasy author N.K. Jemisin. I had heard of her, but had never read her work. I walked in late, as she read a short story, “Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters.” It was riveting, it was beautiful, it was surprising, but it was not fantasy, not in any way I understood it to be. As she read, I kept thinking, “I thought she was a fantasy writer. This feels like magical realism to me.” During QA, an audience member asked Jemisin how she decides on the rules of the magic in her world, and her answer was perfect: “I don’t. Magic doesn’t have rules, so I don’t write them.” Her words, her dismissal of the belief that her magic should ascribe to some regimented, Dungeons and Dragonsâ€"esque system, and her refusal to categorize her work in the ways her mostly white, male counterparts expected she should, was breathtaking and life-giving to me as a fledgling author. Around the same time, Toni Morrison was turning 88, her new book, The Source of Self-Regard, was being published, a documentary about her career was being teased, and a certain infamous clip of her in all of her fiery glory was getting new life on the internet. Slate published an incredible article entitled, “On Black Difficulty: Toni Morrison and the Thrill of Imperiousness” and after reading it, I knew I had to leave the misgivings I had about Beloved as a teenager aside and give this inspiringly difficult woman and her writing another try. Suddenly, my reading was all magical realism every day: Morrison, Hurston, Allende, and Jemisin. I was suddenly, gloriously immersed in a world crafted by Black and brown women and shaped in the image of me, the Black and brown women I love, and our experiences of life and living. What I found when I delved into the works of Toni Morrison was the very thing that had turned me off when I was reading her novel in Mrs. Crowder’s 10th grade English class: a world rooted in magic that was at once glorious and profound but also unpredictable and cruel. A world where the protagonists did not wield wands, but learned to love and adapt to the strange, unpredictable things, both good and bad, that the unspoken magic of the world brought their way. “It’s inconceivable that where I already am is the mainstream,” Morrison once said in her calm, eviscerating critique of Jana Wendt’s interview questions, and how right she was. White authors and other writers have historically used magic as a tool to aid their heroes’ journeys, to support their claims to righteousness and destiny, and to be manipulated to ensure their victory. Black and brown women in the magical realism tradition write about something different; a world saturated with haints and supernatural occurrences, none of which their characters should ever attempt to control. A world in which one must, with wonder, observe the ebb and flow of that magical power, jump in when you can and jump out if you dare, or else be drowned. A world intimately familiar to the Black mainstream whose song Morrison was singing. In this kind of world, one must accept and wrestle with the haunting of one’s house by the grown-up ghost of a murdered child, one can only marvel at the strange and immutable reality of three men from different families who are identical and also not over four feet tall, and one has to navigate a reality in which magical lizards caused the most devastating storm a city has ever seen. In the realm of magical realism, magic is not always triumphant; the same power that makes a protagonist’s hair a lustrous green is the same cruel master that can leave generations cursed. In magical realism, time is not fixed, constant, or predictable. Morrison, Allende, Hurston, and others write as Black and brown people know the world to exist: in patterns, in loops, in circles, and not in the clean, linear ways western cultures demand we understand the world. The same thing that is happening now is also happening several generations prior and is also happening some time in the future. Time is now and yesterday all at once. The present is shared with our ancestors and our children alike. I read the news of Toni Morrison’s death with an overwhelming sadness. In a lifetime of writing, she has shaped this world profoundly with her work and defied a society that would attempt to tame or gentrify her brilliance. I believe emphatically that her novels and her essays are a conduit through which the voices of generations of Black people speak, millions of whom died before she was even born. She’s served as a rallying point and inspiration for generations of authors and readers. Shes proved that something as beautiful as literature for us, by us can exist with no compromises. And most notably, she has forever expanded the reaches of a writing tradition that centers brown and Black people and adorns their lived experiences and ancestral knowledge with the fearful and wondrous power they deserve.