Images of Nebuchadnezzar attempts to probe the diversity of cultural attitudes reflected in the characterizations of this famous king through an examination of both the original cuneiform sources as well as the accounts of chronographers written in Greek, Roman, and medieval times. Included in this revised and expanded second edition are two new chapters that examine both Nebuchadnezzar's administrative policies and the impact that his death had on both contemporary and later cultures. Both the positive and negative images of the king are explored, with conclusions being developed as to what the authors of the various surviving accounts actually thought the king really was. In the process, the whole nature of historiography in the ancient world is analyzed, and a number of broad conclusions are developed. Anyone who has ever read Second Kings or the books of Daniel and Jeremiah of the Old Testament is familiar with the name of Nebuchadnezzar, the king of Babylon who conquered the kingdom of Judah and destroyed Solomon's temple. As the second member of the Chaldean dynasty of Mesopotamia (626-539 B.C.), he ruled for forty-three years (605-562 B.C.), during which time he also led military campaigns into Syria and Lebanon. He also organized a number of building projects that were to transform Babylon into one of the seven wonders of the ancient world. Among his noteworthy achievements were the construction of massive fortification walls around Babylon, the refurbishing of Marduk's temple in the city, and the building of huge palaces that served as the king's residences. Tales of these legendary achievements, as well as those of his father, Nabopolassar (626-605 B.C.), also found their way into the narratives of a number of Greek, Roman, and medieval historians and chronographers many centuries later. Unfortunately, much of the record of Nebuchadnezzar's achievements that was written in his own time has not survived. Instead, only secondary accounts of his military campaigns or his construction projects in Babylon written in Greek, Latin, Hebrew, or Arabic are available for analysis. These stories vary greatly in content and emphasis and, in many cases, distort much of what we know from Nebuchadnezzar's own sources. The Hebrews, for example, described Nebuchadnezzar's siege of Jerusalem in such a way as to consider it something that should never again be repeated. The Greeks, on the other hand, saw the building projects in Babylon as evidence of almost superhuman achievements, as monuments that were the result of efforts by a king who was almost godlike. Why, then, is there such diversity in the characterizations of Nebuchadnezzar? This book proposes answers to these questions.

This fascinating pamphlet gives a fantastic summary of King Nebuchadnezzar's dream in the second chapter of Daniel. This is a great reference for all ages. Easy-to-understand text for young people and for people with no Bible background. Pamphlet fits in most Bibles. Size is 8 1/2 by 5 1/2 inches folded and unfolds to 33 inches long. Rose Publishing Product Code: 555X

This study of Nebuchadnezzar's madness in Daniel 4 demonstrates how the elements which the biblical author borrowed from Ancient Near Eastern myth commanded the attention of early Jewish and Christian exegetes.

This new examination of the region of Nebuchadrezzar II of Babylon (605-562 BC) includes revised interpretations of the Babylonian Chronicles for his reign, especially for the years of the campaigns against the West and the capture of Jerusalem. Excavations at Babylon are used to give a view of the city in Neo-Babylonian times, including the royal `Hanging Gardens' and the ziggurat. The varied literary genres current in this city of learning in the sixth century BC (including dreams and prophecies) and the role of hostages, exiles, and prisoners of war are used to throw light on the life of the Jewish exiles there. An assessment of the character of Nebuchadrezzar as a military and political leader, religious devotee and legal administrator is attempted on the basis of textual evidence.

In the New York Times best-selling book, What in the World Is Going On?, Dr. David Jeremiah answers the hard questions, including these: "How is prophecy playing out in modern Europe?" "Why does Israel matter?" "How are oil reserves and Islamic terrorism related?" "Does the United States play a role in prophecy?" "How should we live in the end times?" The Bible has plenty to say about end times. But until now, there has been no other book that—in straightforward prose that’s easy to understand —gathers ten scriptural prophecies, lays out a chronological checklist, and offers a guideline for sorting it all out. In What in the World Is Going On? Dr. David Jeremiah answers the hard questions, including these: "How is prophecy playing out in modern Europe?" "Why does Israel matter?" "How are oil reserves and Islamic terrorism related?" "Does the United States play a role in prophecy?" "How should we live in the end times?" Events unfolding in today’s world are certainly unsettling, but they need not be confusing or frightening. Now you can know the meaning behind what you see in the daily news—and understand what in the world is going on! “A clear, compelling primer on God’s heart for Israel and the dramatic Bible prophecies that will unfold in these last days. What I loved most is that David Jeremiah unashamedly examines and explains the biggest global trends of our day through the Third Lens of Scripture. And his description of Jesus’ unconditional love and compassion for Jews and Muslims is alone worth the read!” —Joel C. Rosenberg, New York Times best-selling author, The Last Jihad and Epicenter: Why the Current Rumblings in the Middle East Will Change Your World

Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.