The essay explores the representation of time and space in Gilgamesh. The figure of the threshold is a key aspect of the epic, separating highly different, but internally homogeneous kinds of time and space—a structure that also affects its depiction of characters and textuality.
“The chronotope of the threshold in the Epic of Gilgamesh,” forthcoming in Journal of the American Oriental Society.
Through a reading of Enheduana’s Exaltation—the earliest known depiction of authorship—the essay argues that the figure of the author is created by a number of individuals acting together, including the addressee, performer, and copyist of the text: their involvement is necessary for the author to become an author.
“The birth of the author: Co-creating authorship in Enheduana’s Exaltation,” Orbis Litterarum, vol. 75, no. 2 (February 2020), pp. 55–72. Link. DOI: https://doi.org/10.1111/oli.12250
The essay approaches the Babylonian epic Enuma Elish from the perspective of queer theory. I first examine how the female body is depicted as a disquieting force that is impossible to subdue decisively; and then study how text builds up a male sphere of language and power, where men become invested in the company of other men.
“Marduk’s penis: Queering Enūma Eliš,” Chances and Problems of Cultural Anthropological Perspectives in Ancient Studies, special issue of Distant Worlds Journal, vol. 4 (February 2020), pp. 63–77. Link. DOI: https://doi.org/10.11588/dwj.2020.4.70450
The chapter takes a fresh look at the two most important gender signifiers of cuneiform cultures: weapons and weaving instruments. I argue that these signifiers can be used to construct and reinforce masculinity and femininity, but also to transform, reverse, subvert, and complicate them.
“Weapons and weaving instruments as symbols of gender in the ancient Near East,” in Fashioned Selves: Dress and Identity in Antiquity, edited by Megan Cifarelli, (2019, Oxford: Oxbow Books), pp. 105–15. Link. DOI: http://10.2307/j.ctvh9w0j9
Why did Enheduana, the first known author, gain such outstanding cultural prominence during the Old Babylonian period? The essay connects the sudden importance of her authorship with the cultural crisis of the 1740’s BCE, and the following reinvention of Sumerian literature.
“Enheduana and the invention of authorship,” Authorship, vol. 8, no. 1 (July 2019), pp. 1–20. Link. DOI: https://doi.org/10.21825/aj.v8i1.11486
Danish. Written for a special issue on literary revivals, the essay discusses why the new Danish translation of Gilgamesh has garnered so much attention. A key example of a literary revival, the translation combined the appeal of a new and unknown poem with that of a foundational and time-tested classic.
“‘Gilgamesh’: På kanten af kanon” (“‘Gilgamesh’: At the edge of the canon”), Standart, vol. 33, no. 2 (July 2019), pp. 42–43.
Disney films over the past ten years have witnessed a remarkable shift, as the ideal of romantic love has been replaced by an ideal of family love. The essay traces the cultural and political ramifications of this shift, to show the importance and potential of studying the history of emotions. It is included as a model essay in the 10th edition of the Norton Sampler.
“Love isn’t what it was: How Disney took to subverting its own romantic ideals,” Aeon (June 2019). Link.
The essay proposes a new framework for the study of premodern authors. Historically, authors have most often been depicted as textual transmitters, not original creators, so a focus on the middle position of premodern authors will lead to a more nuanced, inclusive history of authorship.
“What is an author? Old answers to a new question”, Modern Language Quarterly, vol. 80, no. 2 (June 2019), pp. 113–139. Link. DOI: https://doi.org/10.1215/00267929-7368183
The essay is a presentation of all sources relating to authorship that date to the Neo-Assyrian period. I argue that authors are depicted in these as ancestors, professional scribes, and mechanisms of textual control, and then examines the historical circumstances that led to the rise of authorship in this period.
“A literary heritage: Authorship in the Neo-Assyrian period,” Kaskal, vol. 16 (2019), pp. 349–71.
Danish. Translating ancient texts is a process of simplification: many manuscripts, variants, and versions are compressed into one book. But in turn, that book leads to many different encounters with the text, and can even occasion new and varied adaptations of it. In short, translation is an hourglass-like movement of condensation and expansion.
“‘Gilgamesh i ental” (“‘Gilgamesh’ in the singular”), Babelfisken (April 2019). Link.