This methodological discussion invites critical reflection about the procedures used to analyze the contribution of qualitative and mixed methods research to nursing trials by mounting an argument that these should rest on multiple publications produced about a project, rather than a single article. We illustrate the value‐added of this approach with findings from a qualitative, cross‐case analysis of three critical case exemplars from nursing researchers that each used a qualitative approach with a mixed method phase. The holistic lens afforded by (...) a case‐based approach informs nursing inquiry by documenting that the critical case exemplars presented evidence of (a) a sustained commitment of resources and expertise for the qualitative methods that extended across more than one phase of the trial, (b) the impact of the qualitative methods on the trial or its aftermath, (c) deploying a theoretical or conceptual framework for a variety of purposes, and (d) integrating qualitative and quantitative data for purposes of extending explanatory power. Findings challenge the practice of linking purposes served by qualitative and mixed methods to a single trial phase. (shrink)

This article reconsiders the similarities between Aphrodite's ascent to Olympus and Ishtar's ascent to heaven inIliadBook 5 and the Standard BabylonianGilgameshTablet VI respectively. The widely accepted hypothesis of an Iliadic reception of the Mesopotamian poem is questioned, and the consonance explained as part of a vast stream of tradition encompassing ancient Near Eastern and early Greek narrative poetry. Compositional and conceptual patterns common to the two scenes are first analyzed in a broader early Greek context, and then across further (...) Sumerian, Akkadian, Ugaritic and Hurro-Hittite sources. The shared compositional techniques at work in Mesopotamia and the Eastern Mediterranean can be seen as a function of the largely performative nature of narrative poetry. This contributes to explaining literary transmission within the Near East and onto Greece. (shrink)

IN C.Q. N.S. xiii , 1578ff., M. L. West discusses various non-Greek traditions which throw light on the interpretation of Pherecydes. Of course problems remain, but one of these the comparative material may yet solve. Is West correct in suggesting that we emend the Suda entry on Pherecydesand so reduce the seven recesses to five ? A convincing analogy can help us here. G. S. Kirk has already compared the seven gates which Ishtar has to penetrate when she descends (...) into the underworld. Despite all his reluctance to admit oriental influence on Pherecydes, he sees this as a possible source. (shrink)

La migración, tanto intra-ístmica como trans-ístmica, ha marcado la vida de millones de centroamericanos a finales del siglo XX y principios del siglo XXI. Este ensayo analiza dos obras representativas del reciente subgénero narrativo de la migración centroamericana: la novela The Tattooed Soldier (El soldado tatuado, 1998), de Héctor Tobar, y el largometraje El camino (2007), dirigido por Ishtar Yasin. En él se arguye que ambos textos abordan la migración de ciudadanos centroamericanos mediante una estrategia narrativa identificada como “violencia (...) circular desterritorializada”. En este sentido, la violencia inicial (nacional, territorializada) migra junto a los protagonistas hacia los países receptores, transformándose en un fenómeno transnacional y desterritorializado. Debido al carácter transnacional y circular de esta violencia, los personajes no logran escapar de ella y más bien terminan en peores circunstancias después de migrar a la supuesta “tierra prometida”. Por medio de esta estrategia narrativa, The Tattooed Soldier y El camino critican la forma en que los centroamericanos más vulnerables han sido víctimas de una violencia estructural e institucionalizada que se extiende más allá del territorio nacional y cuyo origen y causa común es la desigualdad socioeconómica y la precariedad que marcan a estos individuos antes y después de convertirse en migrantes. (shrink)

The Epic of Gilgamesh is a story full of thresholds, liminal spaces, and times of transition. This essay investigates the representation of time and space in Gilgamesh, employing Mikhail Bakhtin’s concept of the “chronotope.” The chronotope is a methodological tool that Bakhtin developed to compare changing depictions of time and space across the history of literature, and I argue that the Epic of Gilgamesh employs what Bakhtin terms “the chronotope of the threshold.” I examine four aspects of this chronotope: the (...) depiction of space, the depiction of time, the human characteristics associated with the chronotope, and its relation to the textuality of the epic. I argue that space in Gilgamesh is structured as a mosaic sequence of externally different but internally homogenous spaces, separated by highly symbolic thresholds. Likewise, the passage of time is repeatedly depicted as transformative, through such temporal markers as the “six days and seven nights,” or “the very first glimmer of dawn.” Further, it is shown that this particular arrangement of space and time, both in Gilgamesh and in Ishtar’s Descent, is associated with characters who are driven by powerful but obscure forces within themselves, crossing thresholds that lead to their undoing. The essay closes with a consideration of how the epic’s depiction of thresholds is related to the threshold of textuality itself, that is, the line that separates reality from representation. (shrink)

It has long been known that there is a significant connection between Aphrodite and Semitic goddesses. In Walter Burkert's recent words, ‘Behind the figure of Aphrodite there clearly stands the ancient Semitic goddess of love, Ishtar-Astarte.’ This was already recognized by Herodotus and Philo of Byblos. I want here to note a curious and striking item of connection that has not been noticed.

A giant statue of the mother goddess, Ishtar, presides over Intolerance , the movie D. W. Griffith made after his triumph with The Birth of a Nation . Ishtar sits above Babylon’s royal, interior court, but the court itself is constructed on so gigantic a scale that is diminishes the size of the goddess. Perhaps to establish Ishtar’s larger-than-life proportions, Griffith posed himself alongside her in a production still from the movie . The director is the same (...) size as the sculptured grown man who sucks at Ishtar’s breast; both males are dwarfed by the goddess’ dimensions.Ishtar connects Griffith to the concern with originary female power current at the turn of the twentieth century. The appearance of the New Woman and the attention to the matriarchal origins of culture were signs of a crisis in patriarchy. But the great mother could support masculine reassertion as well as female power. Ishtar will show us how. Michael Rogin is professor of political science at the University of California, Berkeley. His most recent books are Subversive Genealogy: The Politics and Art of Herman Melville , and “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)

Saner onderzoekt de mythe van Orfeus. Hij beschrijft de oudere 'Ishtar mythe', waarin de macht van muziek reeds aan bod komt, en wijst op de relatie tussen deze mythe en de Orfeusmythe. Het essay handelt over de onmacht van Orfeus.

Alexander Woloch, in a pioneering 2003 study on literary characters and characterization, observed that narrative meaning emerges in the dynamic attention to and neglect of the characters, major and minor, who inhabit the same story but occupy different positions therein. This essay draws on Woloch’s theory and methods to analyze the Standard Babylonian Epic of Gilgamesh, taking the women of the narrative as its case study. Aruru, Ninsun, Shamhat, Aya, Ishtar, the scorpion-man’s woman, Shiduri, and Uta-napishti’s wife are here (...) examined not as flat or stock characters but rather as individual personalities who often transcend both their constrained narrative spaces and the gendered characterizations applied to them in the scholarship of recent decades. In paying the women of the SB Epic of Gilgamesh the attention they deserve, this study sheds new light not only on the composition’s minor characters but also on its narrative structure and meaning. (shrink)

In the beginning was the word, or grunt, or groan, or signal of some sort. This, however, hardly qualifies as an information revolution, at least in any standard technological sense. Nature is replete with meaningful signs, and we must imagine that our early ancestors noticed natural patterns that helped to determine when to sow and when to reap, which animal tracks to follow, what to eat, and so forth. Spoken words at first must have been meaningful in some similar sense. (...) But in time the word became flesh (corpus) and dwelt among us, as "inscription" (literally, to put into writing) inaugurated the dawn of human history. This did not happen instantly. One place to enter the story is with clay tokens to represent trade transactions that in time became accounting tablets and, then, the world's first literature (Enmerkar and the Lord of Aratta, The Epic of Gilgamesh, etc.) and codes of law (The Codes of Ur-Nammu, Lipit-Ishtar, Hammurabi, and so forth.) This event happened around the north shore of the Persian Gulf sometime in the 4th millennium BCE and was enshrouded in mystery as the role of the scribe trained in the art of inscribing and deciphering signs belonged to the priest (Deibert 1997). With the sanction of religion, writing gave birth to "civility" (literally, life in the city) and defined the line between "history" and "pre-history," the latter being a term designating everything that happened before. There is little doubt that the invention of writing was significant and that it deserves recognition as the first revolution in the history of information. Life as we live it today would have been impossible otherwise. Innovations in writing technologies happened with significant effects, but at various points in the history of information, changes in technology were so dramatic that they reshaped the course of human history in radical ways. The revolution in printing is well-studied; the invention of the printing press and movable type (c.. (shrink)

This review-article of Martha Roth's Law Collections focuses on selected sections in the Laws of Ur-Namma, Eshnunna, Hammurabi, Lipit-Ishtar, and the Neo-Babylonian Laws. It discusses potentially misleading divisions of sections and problems of rendering the term awīlum (lú). It also asserts that students of law will benefit from Roth's translations for generations.