Sam Mirelman

Biographic Data

ID706164
NAMESam Mirelman
GIVEN NAMESSam
FAMILY NAMEMirelman
SIGNATUREMIRELMAN S
AFFILIATIONSInstitute of World Literature of the Slovak Academy of Sciences
ORCID0000-0002-2605-2170
VERIFIEDYes
TOTAL WORKS10
TOTAL CITATIONS3
WORKS AS AUTHOR9
WORKS AS EDITOR1
FIRST PUBLICATION YEAR2001
LATEST PUBLICATION YEAR2021
H-INDEX1

  • Lament and Ritual Weeping in the “Negative Confession” of the Babylonian Akītu Festival

    Open AccessSam MirelmanARTICLEJournal of Ancient Near Eastern…2021Cited by: 1References: 8

    This study seeks to contextualise the king’s “negative confession,” which took place in the spring Akītu Festival of Babylon, within the established norms of Mesopotamian ritual practice. The king’s humiliation is situated within the contexts of status reversal, lament and ritual weeping. The study includes a comparative almanac of the Akkadian prayer and/or exclamation known as šigû

  • A Literary Topos of Abundance

    Uri Gabbay, Sam Mirelman et al.ARTICLEZeitschrift für Assyriologie und…2020

    This study analyses a literary topos concerning the abundance of natural phenomena, including fresh water, reed beds and fish. The standardised sequence listing such abundant natural features occurs in two previously unpublished tablets containing Emesal prayers concerning the god Enki, published in this article. The Old Babylonian tablet, of unknown provenance, attests to a unique composition. The tablet from Late Babylonian Ur, which is partial…

  • A New Manuscript of Lugal-E , Tablet Iv

    Open AccessSam MirelmanARTICLEIraq2017

    This study edits BM 48053, a newly identified Late Babylonian manuscript of the epic poem Lugal-e in the British Museum collection. This tablet, which is likely to come from Borsippa, contributes towards the reconstruction of Tablet IV of the epic in its late bilingual form. It is also of interest for its colophon, which specifies the swift return of the tablet following a same day loan, using the phrase ina mišil ūmīšu “in half a day” or perhaps…

  • Text and Performance

    Uri Gabbay, Sam MirelmanARTICLEZeitschrift für Assyriologie und…2017

    The following examines the Akkadian scribal annotation

  • Birds, Balaĝs, and Snakes (K.4206+)

    Sam MirelmanARTICLEJournal of Cuneiform Studies2015Cited by: 2

    The tablet edited here is the only identified source for the compositions ṣēru šikinšu “the snake, its form,” and BALAĜ šikinšu, which is a description of birds. In addition, the tablet contains a lexical passage concerning birds, which is one of the manuscripts of Mur-gud C, a commentary to the list of birds in Ur5-ra XVIII. A central concern is the reading and significance of BALAĜ šikinšu, for which a suggestion is put forward that the sign BA…

  • Two Summary Tablets of Bala Compositions with Performative Indications from Late-Babylonian Ur

    Uri Gabbay, Sam MirelmanARTICLEZeitschrift für Assyriologie und…2011

    Article Two Summary Tablets of Bala Compositions with Performative Indications from Late-Babylonian Ur was published on December 1, 2011 in the journal Zeitschrift für Assyriologie und Vorderasiatische Archäologie (volume 101, issue 2)

  • The Performance of a Sumerian Wedding Song (CT 58, 12) 13

    Sam Mirelman, Walther SallabergerARTICLEZeitschrift für Assyriologie und…2010

    A close examination of the Old Babylonian Sumerian song CT 58, 12, in terms of its graphic arrangement and its literary patterns, leads to a better understanding of its performance: male and female singers participate, soloists and choir alternate, and vocables feature prominently besides the Sumerian text. The song can be situated within the marriage ceremony

  • The Old Babylonian tuning text UET VI/3 899

    Open AccessSam Mirelman, Theo J H KrispijnARTICLEIraq2009

    The text discussed here is one of only two identified fragments of Mesopotamian instructions for tuning a stringed instrument. Apart from its rarity, this text is important in several other respects. It confirms the reconstruction of the tuning cycle suggested by the other tuning fragment (UET VII 74), it appears to belong to a duplicate manuscript of the tuning cycle, it supports the argument for the presence of the verb nê'um (as opposed to enû…

  • New Developments in the Social History of Music and Musicians in Ancient Iraq, Syria, and Turkey

    Open AccessSam MirelmanARTICLEYearbook for Traditional Music2009References: 3

    The ancient cultures of Iraq, Syria, and Turkey are distinguished by the existence of extensive documentation in cuneiform script, amongst which are texts concerning music and musicians. Along with a common script, a common corpus of terms (with local variants) for instruments, musicians, theory, and performance, were transmitted in various languages and dialects in the third and second millennia BCE. Apart from later sources from ancient Greece,…

  • Mesopotamia

    Anne Draffkorn Kilmer, Anne Kilmer et al.EDITORCHAPTERThe new Grove dictionary of music…2001