Drawing influence by borrowing elements of other literary works to create a unique and geniune story

Context Only four of his seventy-five years were spent outside Northern Africa, and fifty-seven of the remaining seventy-one were in such relatively out of the way places as Thagaste and Hippo Regius, both belonging to Roman provinces, neither notable for either cultural or commercial prominence. However, the few years Augustine spent away from Northern Africa exerted an incalculable influence upon his thought, and his geographical distance from the major intellectual and political capitals of the Later Roman Empire should not obscure the tremendous influence he came to exert even in his own lifetime. Here, as elsewhere, one is confronted by a figure both strikingly liminal and, at times, intriguingly ambivalent. He was, as already noted, a long time resident and, eventually, Bishop in Northern Africa whose thought was transformed and redirected during the four brief years he spent in Rome and Milan, far away from the provincial context where he was born and died and spent almost all of the years in between; he was a man who tells us that he never thought of himself as not being in some sense a Christian [Confessions III.

Drawing influence by borrowing elements of other literary works to create a unique and geniune story

Comparative mythology provides historical and cross-cultural perspectives for Jewish mythology. Both sources behind the Genesis creation narrative borrowed themes from Mesopotamian mythology[19] [20] but adapted them to their belief in one God[2] establishing a monotheistic creation in opposition to the polytheistic creation myth of ancient Israel's neighbors.

Both begin with a series of statements of what did not exist at the moment when creation began; the Enuma Elish has a spring in the sea as the point where creation begins, paralleling the spring on the land — Genesis 2 is notable for being a "dry" creation story in Genesis 2: At the same time, and as with Genesis 1, the Jewish version has drastically changed its Babylonian model: Eve, for example, seems to fill the role of a mother goddess when, in Genesis 4: The two share numerous plot-details e.

This enraged Ninhursag, and she caused Enki to fall ill. Enki felt pain in his rib, which is a pun in Sumerian, as the word "ti" means both "rib" and "life".

The other deities persuaded Ninhursag to relent. Ninhursag then created a new goddess seven or eight to heal his seven or eight ailing organs, including his ribwho was named Nintia name composed of "Nin", or "lady", and "ti", and which may be translated both as "Lady of Living" and "Lady of the Rib"to cure Enki [28] Some scholars suggest that this served as the basis for the story of Eve as "the mother of life" and lady of the rib, created from Adam 's rib in the Book of Genesis.

The second is the " agon " meaning struggle or combat model, in which it is God's victory in battle over the monsters of the sea that mark his sovereignty and might.

It was you that hacked Rahab in pieces, that pierced the Dragon! It was you that dried up the Sea, the waters of the great Deep, that made the abysses of the Sea a road that the redeemed might walk And the Spirit of God moved upon the face of the waters.

This was made up of three levels, the habitable earth in the middle, the heavens above, an underworld below, all surrounded by a watery "ocean" of chaos as the Babylonian Tiamat. Above it was the firmamenta transparent but solid dome resting on the mountains, allowing men to see the blue of the waters above, with "windows" to allow the rain to enter, and containing the sun, moon and stars.

The waters extended below the earth, which rested on pillars sunk in the waters, and in the underworld was Sheolthe abode of the dead. In the Enuma Elishthe "deep" is personified as the goddess Tiamatthe enemy of Marduk ; [42] here it is the formless body of primeval water surrounding the habitable world, later to be released during the Delugewhen "all the fountains of the great deep burst forth" from the waters beneath the earth and from the "windows" of the sky.

Only when this is done does God create man and woman and the means to sustain them plants and animals. At the end of the sixth day, when creation is complete, the world is a cosmic temple in which the role of humanity is the worship of God.

This parallels Mesopotamian myth the Enuma Elish and also echoes chapter 38 of the Book of Jobwhere God recalls how the stars, the "sons of God", sang when the corner-stone of creation was laid. And there was evening and there was morning, one day.

God creates by spoken command and names the elements of the world as he creates them. In the ancient Near East the act of naming was bound up with the act of creating: And there was evening and there was morning, a second day. God does not create or make trees and plants, but instead commands the earth to produce them.

The underlying theological meaning seems to be that God has given the previously barren earth the ability to produce vegetation, and it now does so at his command.

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God puts "lights" in the firmament to "rule over" the day and the night. According to Victor Hamilton, most scholars agree that the choice of "greater light" and "lesser light", rather than the more explicit "sun" and "moon", is anti-mythological rhetoric intended to contradict widespread contemporary beliefs that the sun and the moon were deities themselves.

And there was evening and there was morning, the sixth day. After this first mention the word always appears as ha-adam, "the man", but as Genesis 1: The meaning of this is unclear: Having the spiritual qualities of God such as intellect, will, etc. Only later, after the Flood, is man given permission to eat flesh.

The Priestly author of Genesis appears to look back to an ideal past in which mankind lived at peace both with itself and with the animal kingdom, and which could be re-achieved through a proper sacrificial life in harmony with God.

This implies that the materials that existed before the Creation " tohu wa-bohu ," "darkness," " tehom " were not "very good. In ancient Near Eastern literature the divine rest is achieved in a temple as a result of having brought order to chaos.

Rest is both disengagement, as the work of creation is finished, but also engagement, as the deity is now present in his temple to maintain a secure and ordered cosmos.

Six days shalt thou labour, and do all thy work; but the seventh day is a sabbath unto the LORD thy God, in it thou shalt not do any manner of work, thou, nor thy son, nor thy daughter, nor thy man-servant, nor thy maid-servant, nor thy cattle, nor thy stranger that is within thy gates; for in six days the LORD made heaven and earth, the sea, and all that in them is, and rested on the seventh day; wherefore the LORD blessed the sabbath day, and hallowed it.

Eden may represent the divine garden on Zionthe mountain of God, which was also Jerusalem; while the real Gihon was a spring outside the city mirroring the spring which waters Eden ; and the imagery of the Garden, with its serpent and cherubs, has been seen as a reflection of the real images of the Solomonic Temple with its copper serpent the nehushtan and guardian cherubs.

When God forbids the man to eat from the tree of knowledge he says that if he does so he is "doomed to die": Kenegdo means "alongside, opposite, a counterpart to him", and ezer means active intervention on behalf of the other person.

Later, after the story of the Garden is complete, she receives a name: This means "living" in Hebrew, from a root that can also mean "snake".a transition (in literary or theatrical works or films) to an earlier event or scene that interrupts the normal chronological development of .

The meaning to be derived from the Genesis creation narrative will depend on the reader's understanding of its genre, the literary "type" to which it belongs: "it makes an enormous difference whether the first chapters of Genesis are read as scientific cosmology, creation myth, or historical saga".

Other character's comments: Other characters' comments help form judgment of the characters by supporting other characters' actions speech, appearance, and author's comments.

Author's comments: The wording the author uses in the narrative adds to characterization. A literary device which creates interests through a brief, indirect reference (not a quotation) to another literary work, usually for the purpose of associating the tone or theme of the one work with the other.

(D) dramatize literary selections in unison, pairs, and groups and create simple stories collaboratively through imaginative play in improvisations and story dramatizations, describing the characters, their relationships, and their environments and demonstrating a logical connection of events.

Drawing influence by borrowing elements of other literary works to create a unique and geniune story

"Direct borrowing," on the other hand, tends to refer to technological or tangible diffusion from one culture to another. Diffusion of innovations theory presents a research-based model of why and when individuals and cultures adopt new ideas, practices, and products.

Saint Augustine (Stanford Encyclopedia of Philosophy)