The Cyrus Cylinder


Book Description

Some historical artfacts are destined forever to alter how the ancient world is perceived. The unerathing in today's Iraq (in 1879) of a clay cylinder-shaped decree from Cyrus the Great, founder of the Achaemenid dynasty of Persia, stands in the same traditin of game changing discoveries from antiquity as Hammurabi's famous law code or the intact tom of the boy-king Tutankhamun. For the Cyrus Cylinder contains in microcosm the whole history of its period. Inscribed with an account of the conquest of Babylon in 539 BC by the Persian king, it records an event which launched one of the greatest imperial adventures in history. It describes Cyrus' capture and deposition of Nabondius, last native Babylonian ruler (represented by the Cylinder text as an oppressor of his own people), and proclaims the Persian, aided by the god Marduk, as a liberator. His annexation of Babylon was to become the platform upon which the Achaemenid military machine built its later vast imperium. But the Cylinder is more than an ancient exercise in propaganda. It has been celebrated as the world's first declaration of human rights, and an international symbl of religious tolerance, setting out the decree from which Cyrus freed the Jews in Babylon : an event recorded by Isaiah. Few other objects from antiquity are invested with so many hopes for the future. This important volume is the first to discuss the Cylinder and its remarkable history. Written by internationally respected authorities from the British Museum, it offers a fresh consideration of its subject in the light of new discoveries. Included here is a complete new translation of the Cylinder inscription using recently identified but previously unpublished sources. Archive materials have allowed a fresh investigation of the circumstances of the original nineteenth-century find by Hormuzd Rassam, and a reappraisal of the mysterious 'Chinese bone' forgeries. The book also discusses the extraordinary and evolving history of Cyrus' timeless message: a message that continues powerfully to resonate.







Canadian Who's who


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Iranian Civilization and Culture


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Interpreting the Middle East


Book Description

Contemporary approaches to comparative studies of the Middle East increasingly recognize how globalization and regional mass communication have blurred differences across countries. Populations travel across national borders and compare narratives about political change, economic futures, and the role of the outside world in shaping their lives. Organized by five principal themes of a regional overview, politics, economic development, social context, and international issues, Interpreting the Middle East provides a vibrant introduction to the Middle East that is compatible with this regionalist perspective. Invited authorities contribute insightful and accessible original discussions of central headline-fresh issues such as the aftermath of the Iraq war, Iran's regional ambitions, developments in the Israeli'Palestinian conflict, and the global politics of Middle East oil, gender, and religion. Section introductions by the editor integrate the contributions, and suggested readings, a glossary, and a biographical list of key persons provide helpful guidance for readers.







Indo-iranica


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Functions of Medieval English Stage Directions


Book Description

When we speak of theatre, we think we know what a stage direction is: we tend to think of it as an authorial requirement, devised to be complementary to the spoken text and directed at those who put on a play as to what, when, where, how or why a moment, action or its staging should be completed. This is the general understanding to condition a theatrical convention known as the 'stage direction'. As such, we recognise that the stage direction is directed towards actors, directors, designers, and any others who have a part to play in the practical realisation of the play. And perhaps we think that this has always been the case. However, the term 'stage direction' is not a medieval one, nor does an English medieval equivalent term exist to codify the functions contained in extraneous manuscript notes, requirements, directions or records. The medieval English stage direction does not generally function in this way: it mainly exists as an observed record of earlier performance. There are examples of other functions, but even they are not directed at players or those involved in creating performance. More than 2000 stage directions from 40 or so plays and cycles have been included in the catalogue of the volume, and over 400 of those have been selected for analysis throughout the work. The purpose of this research is to examine the theatrical functions of medieval English stage directions as records of earlier performance. Examples of such functions are largely taken from outdoor scriptural plays. This book will be of great interest to students and scholars in theatre, medieval history and literature.