The following are given passages.
Passage 1:
Valley of Death
Valley of Death may refer to:

Places
Valley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northern Poland
Valley of Death (Crimea), the site of the Charge of the Light Brigade in the 1854 Battle of Balaclava
Valley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of Plum Run
Valley of Death (Dukla Pass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)
The Valley of Death, an area of poisonous volcanic gas near the Kikhpinych volcano in Russia
The Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano in Indonesia
Valley of Death, a nickname for the highly polluted city of Cubatão, Brazil

Other uses
The Valley of Death (audio drama), a Doctor Who audio play
The Valley of Death (film), a 1968 western film
"Valley of Death", the flawed NewsStand: CNN & Time debut program that caused the Operation Tailwind controversy
A literary element of "The Charge of the Light Brigade" by Alfred, Lord Tennyson
A reference to the difficulty of covering negative cash flow in the early stages of a start-up company; see Venture capital
"The Valley of Death", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to End All Wars

See also
All pages with titles containing Valley of Death
Death Valley (disambiguation)
Valley of the Shadow of Death (disambiguation)
Passage 2:
Enheduanna
Enheduanna (Sumerian: 𒂗𒃶𒌌𒀭𒈾, also transliterated as Enheduana, En-hedu-ana, or variants) was the entu (high) priestess of the moon god Nanna (Sīn) in the Sumerian city-state of Ur in the reign of her father, Sargon of Akkad (r. c. 2334 – c. 2279). She was likely appointed by her father as the leader of the religious cult at Ur to cement ties between the Akkadian religion of her father and the native Sumerian religion.
Enheduanna has been celebrated as the earliest known named author in world history, as a number of works in Sumerian literature, such as the Exaltation of Inanna feature her as the first person narrator, and other works, such as the Sumerian Temple Hymns may identify her as their author. However, there is considerable debate among modern Assyriologists based on linguistic and archaeological grounds as to whether or not she actually wrote or composed any of the rediscovered works that have been attributed to her. Additionally, the only manuscripts of the works attributed to her were written by scribes in the First Babylonian Empire six centuries after she lived, written in a more recent dialect of the Sumerian language than she would have spoken. These scribes may have attributed these works to her as part of the legendary narratives of the dynasty of Sargon of Akkad in later Babylonian traditions.
The cultural memory of Enheduanna and the works attributed to her were lost some time after the end of the First Babylonian Empire. Enheduanna's existence was first rediscovered by modern archaeology in 1927, when Sir Leonard Wooley excavated the Giparu in the ancient city of Ur and found an alabaster disk with her name, association with Sargon of Akkad, and occupation inscribed on the reverse. References to her name were then later discovered in excavated works of Sumerian literature, which initiated investigation into her potential authorship of those works. Enheduanna's archaeological rediscovery has attracted a considerable amount of attention and scholarly debate in modern times related to her potential attribution as the first known named author. She has also received considerable attention in feminism, and the works attributed to her have also been studied as an early progenitor of classical rhetoric. English translations of her works have inspired a number of literary adaptations and representations.

Background
Enheduanna's father was Sargon of Akkad, founder of the Akkadian Empire. In a surviving inscription Sargon styles himself "Sargon, king of Akkad, overseer (mashkim) of Inanna, king of Kish, anointed (guda) of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil". The inscription celebrates the conquest of Uruk and the defeat of Lugalzagesi, whom Sargon brought "in a collar to the gate of Enlil": "Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land, governor of Enlil: he defeated the city of Uruk and tore down its walls, in the battle of Uruk he won, took Lugalzagesi king of Uruk in the course of the battle, and led him in a collar to the gate of Enlil". Sargon then conquered Ur and "laid waste" the territory from Lagash to the sea, ultimately conquering at least 34 cities in total.

Irene J. Winter states that Sargon, having conquered Ur, likely sought to "consolidate the Akkadian dynasty's links with the traditional Sumerian past in the important cult and political center of Ur" by appointing Enheduanna to an important position in the native Sumerian moon god cult. Winter states that is likely that the position she was appointed to already existed beforehand, and that her appointment to this role, and the attribution to Nanna would have helped her forge a syncreticism between the Sumerian religion and the Semitic religion. After Enheduanna, the role of high priestess continued to be held by members of the royal family. Joan Goodnick Westenholz suggests that the role of high priestess appears to have held a similar level of honor to that of a king; as the high priestess of Nanna, Enheduanna would have served as the embodiment of Ningal, spouse of Nanna, which would have given her actions divine authority. However, although the Giparu in Ur where the en priestess of Nanna worshipped has been extensively studied by archaeologists, we have no definitive information about what their duties were.

Rebellion of Lugal-Ane
Toward the end of the reign of Sargon's grandson Narām-Sîn, numerous former city-states rebelled against the Akkadian central power. From hints in the song Nin me šara ("the Exaltation of Inana"), the events can be reconstructed from the point of view of Enheduanna: A certain Lugal-Ane came to power in the city of Ur, who as the new ruler invoked the legitimacy of the city god Nanna. Lugal-Ane is probably identical with a Lugal-An-na or Lugal-An-né, who is mentioned in ancient Babylonian literary texts about the war as king of Ur. Apparently Lugal-Ane demanded that the high priestess and consort of the moon god Enheduanna had to confirm his assumption of power. En-ḫedu-anna, as representative of the Sargonid dynasty, refused, whereupon she was suspended from her office and expelled from the city. The mention of the temple E-ešdam-ku indicates that she then found refuge in the city of Ĝirsu. In this exile, she composed the song Nin me šara, the performance of which was intended to persuade the goddess Inanna (as Ištar the patron goddess of her dynasty) to intervene on behalf of the Akkadian empire.At least, King Narām-Sîn succeeded in putting down the rebellion of Lugal-Ane and other kings and restored the Akkadian central authority for the remaining years of his reign. Probably Enheduanna then returned to her office in the city of Ur.

Archaeological artifact
In 1927, as part of excavations at Ur, British archaeologist Sir Leonard Woolley discovered an alabaster disk shattered into several pieces, which has since been reconstructed. The reverse side of the disk identifies Enheduanna as the wife of Nanna and daughter of Sargon of Akkad. The front side shows the high priestess standing in worship as what has been interpreted as a nude male figure pours a libation. Irene Winter states that "given the placement and attention to detail" of the central figure, "she has been identified as Enheduanna" Two seals bearing her name, belonging to her servants and dating to the Sargonic period, have been excavated at the Giparu at Ur.Two of the works attributed to Enheduanna, "The Exaltation of Inanna" and "Inanna and Ebih" have survived in numerous manuscripts due to their presence in the Decad, an advanced scribal curriculum in the First Babylonian Empire of the 18th and 17th centuries BCE. Black et al. suggest that "perhaps Enheduanna has survived in scribal literature" due to the "continuing fascination with the dynasty of her father Sargon of Akkad".

Attributed works
The first person to connect the disk and seals with literary works excavated in Nippur was Adam Falkenstein, who observed that the Temple Hymns and two hymns to Inanna: The Exaltation of Inanna and another "Hymn to Inanna" (at the time not yet reconstructed) contained references to Enheduanna. Falkenstein suggested that this might be evidence of Enheduanna's authorship, but acknowledged that the hymns are only known from the later Old Babylonian period and that more work would need to be done constructing and analyzing the received texts before any conclusions could be made. In 1989, Westenholz suggested that Inanna and Ebih and two other hymns, to Nanna at Ur, might also have been written by her.

Temple hymns
These hymns have been reconstructed from 37 tablets from Ur and Nippur, most of which date to the Ur III and Old Babylonian periods. Each hymn is dedicated to a particular deity from the Sumerian pantheon and a city with which the deity was associated, and may have helped to create syncreticism between the native Sumerian religion and the Semitic religion of the Akkadian empire. However, some of these poems, such as hymn 9, addressed to the temple of the deified king Sulgi from the later Third Dynasty of Ur, cannot have been written by Enheduanna or anyone in the Akkadian empire, showing that the collection may have gained additional poems over time.The first translation of the collection into English was by Åke W. Sjöberg, who also argued that the mention of a "subscript" or colophon of two lines near the end of the composition appear to credit her with composition of the preceding text. However, Black shows that in the majority of manuscripts, the line following this colophon, which contains the line count for the 42nd and final hymn, demonstrates that the preceding two lines are part of the 42nd hymn. Black concludes that: "At most... it might be reasonable to accept a claim for (Enheduanna)'s authorship or editorship" for only Hymn 42, the final hymn in the collection.

Hymns dedicated to Inanna
The Exaltation of Inanna
Nin me šara ("Mistress of the innumerable me"; modern also The Exaltation of Inana / Inana B) is a hymn to the goddess Inanna of 154 lines. According to Claus Wilcke, the text "belongs to the most difficult that exists in the literary tradition in Sumerian". The first complete edition of Nin me šara was produced by Hallo / van Dijk in 1968. A fundamentally new edition based on a broader textual foundation as well as recent linguistic research and textual criticism was published by Annette Zgoll in 1997, with further improvements in Zgoll 2014 and 2021.The work refers to the rebellion of Lugal-Ane and Enheduanna's exile. Probably composed in exile in Ĝirsu, the song is intended to persuade the goddess Inanna to intervene in the conflict in favor of Enheduanna and the Sargonian dynasty. To reach this, the text constructs a myth: An, the king of the gods, endows the goddess Inanna with divine powers and has her execute his judgment on all the cities of Sumer, making her herself the ruler of the land and most powerful of all the gods. When now the city of Ur rebels against her rule, Inanna passes her judgment over it and has it executed by Nanna, the city god of Ur and her father. Inanna has thus become the mistress of heaven and earth alike - and thus empowered to enforce her will even over the originally superior gods (An and Nanna), which results in the destruction of Ur and Lugal-Ane.

Hymn to Inanna
This hymn (incipit in-nin ša-gur-ra) which is only partially preserved in a fragmentary form, is outlined by Black et al. as containing three parts: an introductory section (lines 1-90) emphasizing Inanna's "martial abilities"; a long, middle section (lines 91-218) that serves as a direct address to Inanna, listing her many positive and negative powers, and asserting her superiority over other deities, and a concluding section (219–274) narrated by Enheduanna that exists in a very fragmentary form.Black et al. surmise that the fragmentary nature of the concluding section makes it unclear whether Enheduanna composed the hymn, the concluding section was a later addition, or that her name was added to the poem later in the Old Babylonian period from "a desire to attribute it to her". They also note that the concluding section also appears to reference "some historical events which cannot be elucidated." This poem also contains a potential reference to the events described in Inanna and Ebih, which has led Westenholz to suggest that that poem may have been written by Enheduanna as well.The first English translation of this work was by Sjöberg in 1975.

Inanna and Ebih
This hymn (incipit in-nin me-huš-a) is characterized by Black et al. as "Inanna in warrior mode." The poem starts with a hymn to Inanna as "lady of battle" (lines 1–24) then shifts to a narration by Inanna herself in the first person (lines 25–52), where she describes the revenge she wants to take on the mountains of Ebih for their refusal to bow to her.Inanna then visits the sky god An and requests his assistance (lines 53–111), but An doubts Inanna's ability to take revenge (lines 112–130). This causes Inanna to fly into a rage and attack Ebih (lines 131–159). Inanna then recounts how she overthrew Ebih (lines 160–181) and the poem ends with a praise of Inanna (lines 182–184).
The "rebel lands" of Ebih that are overthrown in the poem have been identifiedwith the Jebel Hamrin mountain range in modern Iraq.  Black et al. describe these lands as "home to the nomadic, barbarian tribes who loom large in Sumerian literature as forces of destruction and chaos" that sometimes need to be "brought under divine control".

Hymns dedicated to Nanna
These two hymns, labeled by Westenholz as Hymn of Praise to Ekisnugal and Nanna on [the] Assumption of En-ship (incipit e ugim e-a) and Hymn of Praise of Enheduanna (incipit lost). The second hymn is very fragmentary.

Authorship debate
The question of Enheduanna's authorship of poems has been subject to significant debate. While Hallo and Åke Sjöberg were the first to definitively assert Enheduanna's authorship of the works attributed to her, other Assyriologists including Miguel Civil and Jeremy Black have put forth arguments rejecting or doubting Enheduanna's authorship.  Civil has raised the possibility that "Enheduanna" refers not to the name, but instead the station of EN-priestess that the daughter of Sargon of Akkad held.
For the Inanna and Nanna poems, Black et al. argue that at best, all of the manuscript sources date from at least six centuries after when she would have lived, and they were found in scribal settings, not ritual ones, and that "surviving sources show no traces of Old Sumerian... making it impossible to posit what that putative original might have looked like."Despite these concerns, Hallo says that there is still little reason to doubt Enheduanna's authorship of these works. Hallo, responding to Miguel Civil, not only still maintains Enheduanna's authorship of all of the works attributed to her, but rejects "excess skepticism" in Assyriology as a whole, and noting that "rather than limit the inferences they draw from it" other scholars should consider that "the abundant textual documentation from Mesopotamia... provides a precious resource for tracing the origins and evolution of countless facets of civilization."Summarizing the debate, Paul A. Delnero, professor of Assyriology at Johns Hopkins University, remarks that "the attribution is exceptional, and against the practice of anonymous authorship during the period; it almost certainly served to invest these compositions with an even greater authority and importance than they would have had otherwise, rather than to document historical reality".

Influence and legacy
Enheduanna has received substantial attention in feminism. In a BBC Radio 4 interview, Assyriologist Eleanor Robson credits this to the feminist movement of the 1970s, when, two years after attending a lecture by Cyrus H. Gordon in 1976, American anthropologist Marta Weigle introduced Enheduanna to an audience of feminist scholars as "the first known author in world literature" with her introductory essay "Women as Verbal Artists: Reclaiming the Sisters of Enheduanna". Robson says that after this publication, the "feminist image of Enheduanna... as a wish fulfillment figure" really took off. Rather than as a "pioneer poetess" of feminism, Robson states that the picture of Enheduanna from the surviving works of the 18th century BCE is instead one of her as "her father's political and religious instrument". Robson also stresses that we have neither "access to what Enheduanna thought or did" or "evidence that (Enheduanna) was able to write", but that as the high priestess and daughter of Sargon of Akkad, Enheduanna was "probably the most privileged woman of her time".Enheduanna has also been analyzed as an early rhetorical theorist. Roberta Binkley finds evidence in The Exaltation of Inanna of invention and classical modes of persuasion. Hallo, building on the work of Binkley, compares the sequence of the Hymn to Inanna, Inanna and Ebih, and the Exaltation of Inanna to the biblical Book of Amos, and considers these both evidence of "the birth of rhetoric in Mesopotamia."

See also
Adad-guppi – Assyrian priestess of the moon god Sin
Anna Komnene – Byzantine historian (1083–1153)
Diotima of Mantinea – Ancient Greek woman or fictional figure in Plato's Symposium
Hypatia – Alexandrian astronomer and mathematician (died 415)
Kushim – Sumerian person, c. 3400–3000 BC
Puabi – Queen of Ur
List of female poets

Notes
Passage 3:
Where Was I
"Where Was I?" may refer to:

Books
"Where Was I?", essay by David Hawley Sanford from The Mind's I
Where Was I?, book by John Haycraft 2006
Where was I?!, book by Terry Wogan 2009

Film and TV
Where Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.
Where Was I? (2001 film), biography about songwriter Tim Rose
Where Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos
"Where Was I?" episode of Shoestring (TV series) 1980

Music
"Where was I", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939
"Where Was I", single from Charley Pride discography 1988
"Where Was I" (song), a 1994 song by Ricky Van Shelton
"Where Was I (Donde Estuve Yo)", song by Joe Pass from Simplicity (Joe Pass album)
"Where Was I?", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)
"Where Was I", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002
"Where Was I?", song  by  Kenny Wayne Shepherd from Live On  1999
"Where Was I", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)
"Where Was I", song by Rosie Thomas from With Love (Rosie Thomas album)
Passage 4:
Dance of Death (disambiguation)
Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.
Dance of Death or The Dance of Death may also refer to:

Books
Dance of Death, a 1938 novel by Helen McCloy
Dance of Death (Stine novel), a 1997 novel by R. L. Stine
Dance of Death (novel), a 2005 novel by Douglas Preston and Lincoln Child

Theatre and film
The Dance of Death (Strindberg play), a 1900 play by August Strindberg
The Dance of Death, a 1908 play by Frank Wedekind
The Dance of Death (Auden play), a 1933 play by W. H. Auden

Film
The Death Dance, a 1918 drama starring Alice Brady
The Dance of Death (1912 film), a German silent film
The Dance of Death (1919 film), an Austrian silent film
The Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph Dawson
The Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich von Stroheim
The Dance of Death (1967 film), a West German drama film
Dance of Death or House of Evil, 1968 Mexican horror film starring Boris Karloff
Dance of Death (1969 film), a film based on Strindberg's play, starring Laurence Olivier
Dance of Death (1979 film), a Hong Kong film featuring Paul Chun

Music
Dance of Death (album), a 2003 album by Iron Maiden, or the title song
The Dance of Death & Other Plantation Favorites, a 1964 album by John Fahey
The Dance of Death (Scaramanga Six album)
"Death Dance", a 2016 song by Sevendust

See also
Dance of the Dead (disambiguation)
Danse Macabre (disambiguation)
Bon Odori, a Japanese traditional dance welcoming the spirits of the dead
La danse des morts, an oratorio by Arthur Honegger
Totentanz (disambiguation)
Passage 5:
Beaulieu-sur-Loire
Beaulieu-sur-Loire (French pronunciation: ​[boljø syʁ lwaʁ], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.

Population
See also
Communes of the Loiret department
Passage 6:
Sargon of Akkad
Sargon of Akkad (; Akkadian: 𒊬𒊒𒄀 Šarrugi), also known as Sargon the Great, was the first ruler of the Akkadian Empire, known for his conquests of the Sumerian city-states in the 24th to 23rd centuries BC. He is sometimes identified as the first person in recorded history to rule over an empire.
He was the founder of the "Sargonic" or "Old Akkadian" dynasty, which ruled for about a century after his death until the Gutian conquest of Sumer.
The Sumerian king list makes him the cup-bearer to king Ur-Zababa of Kish.His empire is thought to have included most of Mesopotamia, parts of the Levant, besides incursions into Hurrian and Elamite territory, ruling from his (archaeologically as yet unidentified) capital, Akkad.
Sargon appears as a legendary figure in Neo-Assyrian literature of the 8th to 7th centuries BC.
Tablets with fragments of a Sargon Birth Legend were found in the Library of Ashurbanipal.

Name
The Akkadian name is normalized as either Šarru-ukīn or Šarru-kēn. The name's cuneiform spelling is variously LUGAL-ú-kin, 
šar-ru-gen6, šar-ru-ki-in, šar-ru-um-ki-in. 
In Old Babylonian tablets relating the legends of Sargon, his name is transcribed as 𒊬𒊒𒌝𒄀𒅔 (Šar-ru-um-ki-in).
In Late Assyrian references, the name is mostly spelled as LUGAL-GI.NA or LUGAL-GIN, i.e. identical to the name of the Neo-Assyrian king Sargon II.
The spelling Sargon is derived from the single mention of the name (in reference to Sargon II) in the Hebrew Bible, as סַרְגוֹן, in Isaiah 20:1.
The first element in the name is šarru, the Akkadian (East Semitic) for "king" (c.f. Hebrew śar שַׂר). The second element is derived from the verb kīnum "to confirm, establish" (related to Hebrew kūn כּוּן).A possible interpretation of the reading Šarru-ukīn is "the king has established (stability)" or "he [the god] has established the king". Such a name would however be unusual; other names in -ukīn always include both a subject and an object, as in Šamaš-šuma-ukīn "Shamash has established an heir".
There is some debate over whether the name was an adopted regnal name or a birth name. 
The reading Šarru-kēn has been interpreted adjectivally, as "the king is established; legitimate", expanded as a phrase šarrum ki(e)num.The terms "Pre-Sargonic" and "Post-Sargonic" were used in Assyriology based on the chronologies of Nabonidus before the historical existence of Sargon of Akkad was confirmed. 
The form Šarru-ukīn was known from the Assyrian Sargon Legend discovered in 1867 in Library of Ashurbanipal at Nineveh.
A contemporary reference to Sargon thought to have been found on the cylinder seal of Ibni-sharru, a high-ranking official serving under Sargon. Joachim Menant published a description of this seal in 1877, reading the king's name as Shegani-shar-lukh, and did not yet identify it with "Sargon the Elder" (who was identified with the Old Assyrian king Sargon I).
In 1883, the British Museum acquired the "mace-head of Shar-Gani-sharri", a votive gift deposited at the temple of Shamash in Sippar. This "Shar-Gani" was identified with the Sargon of Agade of Assyrian legend.
The identification of "Shar-Gani-sharri" with Sargon was recognised as mistaken in the 1910s. Shar-Gani-sharri (Shar-Kali-Sharri) is, in fact, Sargon's great-grandson, the successor of Naram-Sin.It is not entirely clear whether the Neo-Assyrian king Sargon II was directly named for Sargon of Akkad, as there is some uncertainty whether his name should be rendered Šarru-ukīn or as Šarru-kēn(u).

Chronology
Primary sources pertaining to Sargon are sparse; the main near-contemporary reference is that in the various versions of the Sumerian King List.
Here, Sargon is mentioned as the son of a gardener, former cup-bearer of Ur-Zababa of Kish. He usurped the kingship from Lugal-zage-si of Uruk and took it to his own city of Akkad. Note that the Weidner chronicle has Sargon ruling directly after Ur-Zababa and does not mention Lugal-zage-si. Various copies of the king list give the duration of his reign as either 40 or 54-56 years. Numerous fragmentary inscriptions relating to Sargon are also known.In absolute years, his reign would correspond to c. 2334–2279 BC in the middle chronology. His successors until the Gutian conquest of Sumer are also known as the "Sargonic Dynasty" and their rule as the "Sargonic Period" of Mesopotamian history.Foster (1982) argued that the reading of 55 years as the duration of Sargon's reign was, in fact, a corruption of an original interpretation of 37 years. An older version of the king list gives Sargon's reign as lasting for 40 years.Thorkild Jacobsen marked the clause about Sargon's father being a gardener as a lacuna, indicating his uncertainty about its meaning. Ur-Zababa and Lugal-zage-si are both listed as kings, but separated by several additional named rulers of Kish, who seem to have been merely governors or vassals under the Akkadian Empire.The claim that Sargon was the original founder of Akkad has been called into question with the discovery of an inscription mentioning the place and dated to the first year of Enshakushanna, who almost certainly preceded him. The Weidner Chronicle (ABC 19:51) states that it was Sargon who "built Babylon in front of Akkad." The Chronicle of Early Kings (ABC 20:18–19) likewise states that late in his reign, Sargon "dug up the soil of the pit of Babylon, and made a counterpart of Babylon next to Agade." Van de Mieroop suggested that those two chronicles may refer to the much later Assyrian king, Sargon II of the Neo-Assyrian Empire, rather than to Sargon of Akkad.Some of the regnal year names of Sargon are preserved, and throw some light in the events of his reign, particularly the conquest of the surrounding territories of Simurrum, Elam and Mari, and Uru'a, thought to be a city in Elam:

Year in which Sargon went to Simurrum
Year in which Sargon destroyed Uru'a
Year in which Uru'a was destroyed
Year in which Sargon destroyed Elam
Year in which Mari was destroyed

Historiography
Language and script used in records
Sargon appears to have promoted the use of Semitic (Akkadian) in inscriptions.
He frequently calls himself "king of Akkad" first, after he apparently founded the city of Akkad. He appears to have taken over the rule of Kish at some point, and later also much of Mesopotamia, referring to himself as
"Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil".During Sargon's reign, East Semitic was standardized and adapted for use with the cuneiform script previously used in the Sumerian language into what is now known as the "Akkadian language". A style of calligraphy developed in which text on clay tablets and cylinder seals was arranged amidst scenes of mythology and ritual.

Year names
While various copies of the Sumerian king list and later Babylonian chronicles credit Sargon with a reign length ranging from 34 to 56 years, dated documents have been found for only four different year-names of his actual reign. The names of these four years describe his campaigns against Elam, Mari, Simurrum (a Hurrian region), and Uru'a (an Elamite city-state).

Nippur inscription
Among the most important sources for Sargon's reign is a tablet of the Old Babylonian period recovered at Nippur in the University of Pennsylvania expedition in the 1890s. The tablet is a copy of the inscriptions on the pedestal of a statue erected by Sargon in the temple of Enlil. Its text was edited by Arno Poebel (1909) and Leon Legrain (1926).

Conquest of Sumer
In the inscription, Sargon styles himself "Sargon, king of Akkad, overseer (mashkim) of Inanna, king of Kish, anointed (guda) of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil". 

It celebrates the conquest of Uruk and the defeat of Lugalzagesi, whom Sargon brought "in a collar to the gate of Enlil":
Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land, governor of Enlil: he defeated the city of Uruk and tore down its walls, in the battle of Uruk he won, took Lugalzagesi king of Uruk in the course of the battle, and led him in a collar to the gate of Enlil.
Sargon then conquered Ur and E-Ninmar and "laid waste" the territory from Lagash to the sea, and from there went on to conquer and destroy Umma:
Sargon, king of Agade, was victorious over Ur in battle, conquered the city and destroyed its wall. He conquered Eninmar, destroyed its walls, and conquered its district and Lagash as far as the sea. He washed his weapons in the sea. He was victorious over Umma in battle, [conquered the city, and destroyed its walls]. [To Sargon], lo[rd] of the land the god Enlil [gave no] ri[val]. The god Enlil gave to him [the Upper Sea and] the [Lower (Sea).
Sargon permitted the inhabitants of the territories he conquered to retain their native leaders and traditions. Yet, they were obligated to follow him and pay a tribute in exchange for safety. The people of Sargon's dominion were devoted to him because of his policies, which served to maintain peace. In addition, he proclaimed Akkadian the official language of the government and imposed regular weights and measurements.

Conquest of Upper Mesopotamia, as far as the Mediterranean Sea
Submitting himself to the (Levantine god) Dagan, Sargon conquered territories of Upper Mesopotamia and the Levant, including Mari, Yarmuti (Jarmuth?) and Ibla "up to the Cedar Forest (the Amanus) and up to the Silver Mountain (Aladagh?)", ruling from the "upper sea" (Mediterranean) to the "lower sea" (Persian Gulf).
Sargon the King bowed down to Dagan in Tuttul. He (Dagan) gave to him (Sargon) the Upper Land: Mari, Iarmuti, and Ebla, as far as the Cedar Forest and the Silver Mountains

Conquests of Elam and Marhashi
Sargon also claims in his inscriptions that he is "Sargon, king of the world, conqueror of Elam and Parahshum", the two major polities to the east of Sumer. He also names various rulers of the east whom he vanquished, such as "Luh-uh-ish-an, son of Hishibrasini, king of Elam, king of Elam" or "Sidga'u, general of Parahshum", who later also appears in an inscription by Rimush.Sargon triumphed over 34 cities in total. Ships from Meluhha, Magan and Dilmun, rode at anchor in his capital of Akkad.He entertained a court or standing army of 5,400 men who "ate bread daily before him".

Sargon Epos
A group of four Babylonian texts, summarized as "Sargon Epos" or Res Gestae Sargonis, shows Sargon as a military commander asking the advice of many subordinates before going on campaigns. 
The narrative of Sargon, the Conquering Hero, is set at Sargon's court, in a situation of crisis. Sargon addresses his warriors, praising the virtue of heroism, and a lecture by a courtier on the glory achieved by a champion of the army, a narrative relating a campaign of Sargon's into the far land of Uta-raspashtim, including an account of a "darkening of the Sun" and the conquest of the land of Simurrum, 
and a concluding oration by Sargon listing his conquests.

The narrative of King of Battle relates Sargon's campaign against the Anatolian city of Purushanda in order to protect his merchants.
Versions of this narrative in both Hittite and Akkadian have been found. 
The Hittite version is extant in six fragments, the Akkadian version is known from several manuscripts 
found at Amarna, Assur, and Nineveh.
The narrative is anachronistic, portraying Sargon in a 19th-century milieu. The same text mentions that Sargon crossed the Sea of the West (Mediterranean Sea) and ended up in Kuppara, which some authors have interpreted as the Akkadian word for Keftiu, an ancient locale usually associated with Crete or Cyprus.Famine and war threatened Sargon's empire during the latter years of his reign. The Chronicle of Early Kings reports that revolts broke out throughout the area under the last years of his overlordship:

Afterward in his [Sargon's] old age all the lands revolted against him, and they besieged him in Akkad; and Sargon went onward to battle and defeated them; he accomplished their overthrow, and their widespreading host he destroyed. Afterward he attacked the land of Subartu in his might, and they submitted to his arms, and Sargon settled that revolt, and defeated them; he accomplished their overthrow, and their widespreading host he destroyed, and he brought their possessions into Akkad. The soil from the trenches of Babylon he removed, and the boundaries of Akkad he made like those of Babylon. But because of the evil which he had committed, the great lord Marduk was angry, and he destroyed his people by famine. From the rising of the sun unto the setting of the sun they opposed him and gave him no rest.
A. Leo Oppenheim translates the last sentence as "From the East to the West he [i.e. Marduk] alienated (them) from him and inflicted upon (him as punishment) that he could not rest (in his grave)."

Chronicle of Early Kings
Shortly after securing Sumer, Sargon embarked on a series of campaigns to subjugate the entire Fertile Crescent. According to the Chronicle of Early Kings, a later Babylonian historiographical text:

[Sargon] had neither rival nor equal. His splendor, over the lands it diffused. He crossed the sea in the east. In the eleventh year he conquered the western land to its farthest point. He brought it under one authority. He set up his statues there and ferried the west's booty across on barges. He stationed his court officials at intervals of five double hours and ruled in unity the tribes of the lands. He marched to Kazallu and turned Kazallu into a ruin heap, so that there was not even a perch for a bird left.
In the east, Sargon defeated four leaders of Elam, led by the king of Awan. Their cities were sacked; the governors, viceroys, and kings of Susa, Waraḫše, and neighboring districts became vassals of Akkad.

Origin legends
Sargon became the subject of legendary narratives describing his rise to power from humble origins and his conquest of Mesopotamia in later Assyrian and Babylonian literature. Apart from these secondary, and partly legendary, accounts, there are many inscriptions due to Sargon himself, although the majority of these are known only from much later copies. The Louvre has fragments of two Sargonic victory steles recovered from Susa (where
they were presumably transported from Mesopotamia in the 12th century BC).

Sumerian legend
The Sumerian-language Sargon legend contains a legendary account of Sargon's rise to power. It is an older version of the previously known Assyrian legend, discovered in 1974 in Nippur and first edited in 1983.The extant versions are incomplete, but the surviving fragments name Sargon's father as La'ibum. After a lacuna, the text skips to Ur-Zababa, king of Kish, who awakens after a dream, the contents of which are not revealed on the surviving portion of the tablet. For unknown reasons, Ur-Zababa appoints Sargon as his cup-bearer. Soon after this, Ur-Zababa invites Sargon to his chambers to discuss a dream of Sargon's, involving the favor of the goddess Inanna and the drowning of Ur-Zababa by the goddess in a river of blood. Deeply frightened, Ur-Zababa orders Sargon murdered by the hands of Beliš-tikal, the chief smith, but Inanna prevents it, demanding that Sargon stop at the gates because of his being "polluted with blood." When Sargon returns to Ur-Zababa, the king becomes frightened again and decides to send Sargon to king Lugal-zage-si of Uruk with a message on a clay tablet asking him to slay Sargon. The legend breaks off at this point; presumably, the missing sections described how Sargon becomes king.

The part of the interpretation of the king's dream has parallels to the biblical story of Joseph, the part about the letter with the carrier's death sentence has similarities to the Greek story of Bellerophon and the biblical story of Uriah.

Birth legend
A Neo-Assyrian text from the 7th century BC purporting to be Sargon's autobiography asserts that the great king was the illegitimate son of a priestess. 
Only the beginning of the text (the first two columns) is known, from the fragments of three manuscripts. 
The first fragments were discovered as early as 1850.
Sargon's birth and his early childhood are described thus: 

My mother was a high priestess, my father I knew not. The brothers of my father loved the hills. My city is Azupiranu, which is situated on the banks of the Euphrates. My high priestess mother conceived me, in secret she bore me. She set me in a basket of rushes, with bitumen she sealed my lid. She cast me into the river which rose over me. The river bore me up and carried me to Akki, the drawer of water. Akki, the drawer of water, took me as his son and reared me. Akki, the drawer of water, appointed me as his gardener. While I was a gardener, Ishtar granted me her love, and for four and ... years I exercised kingship.
Similarities between the Sargon Birth Legend and other infant birth exposures in ancient literature, including Moses, Karna, and Oedipus, were noted by psychoanalyst Otto Rank in his 1909 book The Myth of the Birth of the Hero. The legend was also studied in detail by Brian Lewis, and compared with many different examples of the infant birth exposure motif found in European and Asian folktales. He discusses a possible archetype form, giving particular attention to the Sargon legend and the account of the birth of Moses. Joseph Campbell has also made such comparisons.Sargon is also one of the many suggestions for the identity or inspiration for the biblical Nimrod. Ewing William (1910) suggested Sargon based on his unification of the Babylonians and the Neo-Assyrian birth legend. Yigal Levin (2002) suggested that Nimrod was a recollection of Sargon and his grandson Naram-Sin, with the name "Nimrod" derived from the latter.

Family
The name of Sargon's main wife, Queen Tashlultum, and those of a number of his children are known to us. His daughter Enheduanna was a high priestess of the moon God in Ur who composed ritual hymns. Many of her works, including her Exaltation of Inanna, were in use for centuries thereafter. Sargon was succeeded by his son Rimush; after Rimush's death another son, Manishtushu, became king. Manishtushu would be succeeded by his own son, Naram-Sin. Two other sons, Shu-Enlil (Ibarum) and Ilaba'is-takal (Abaish-Takal), are known.

Legacy
Sargon of Akkad is sometimes identified as the first person in recorded history to rule over an empire (in the sense of the central government of a multi-ethnic territory), although earlier Sumerian rulers such as Lugal-zage-si might have a similar claim. His rule also heralds the history of Semitic empires in the Ancient Near East, which, following the Neo-Sumerian interruption (21st/20th centuries BC), lasted for close to fifteen centuries until the Achaemenid conquest following the 539 BC Battle of Opis.Sargon was regarded as a model by Mesopotamian kings for some two millennia after his death. The Assyrian and Babylonian kings who based their empires in Mesopotamia saw themselves as the heirs of Sargon's empire. 
Sargon may indeed have introduced the notion of "empire" as understood in the later Assyrian period; the Neo-Assyrian Sargon Text, written in the first person, has Sargon challenging later rulers to "govern the black-headed people" (i.e. the indigenous population of Mesopotamia) as he did. An important source for "Sargonic heroes" in oral tradition in the later Bronze Age is a Middle Hittite (15th century BC) record of a Hurro-Hittite song, which calls upon Sargon and his immediate successors as "deified kings" (dšarrena).Sargon shared his name with two later Mesopotamian kings. Sargon I was a king of the Old Assyrian period presumably named after Sargon of Akkad. Sargon II was a Neo-Assyrian king named after Sargon of Akkad; it is this king whose name was rendered Sargon (סַרְגוֹן) in the Hebrew Bible (Isaiah 20:1).
Neo-Babylonian king Nabonidus showed great interest in the history of the Sargonid dynasty and even conducted excavations of Sargon's palaces and those of his successors.

In popular culture
The fanciful adventure film The Scorpion King: Rise of a Warrior (2008) imagines Sargon of Akkad as a murderous army commander wielding black magic. He is the film's main villain, portrayed by Randy Couture.The twentieth episode of the second season of Star Trek: The Original Series, "Return to Tomorrow", features an ancient, telepathic alien named Sargon who once ruled a mighty empire.
American Rock Group They Might Be Giants refer to Sargon of Akkad in the track "The Mesopotamians" on their 2007 album The Else, along with Hammurabi, Ashurbanipal and Gilgamesh.
Carl Benjamin, British far-right YouTuber and political commentator, goes by the online pseudonym "Sargon of Akkad" on his YouTube channel.
The Return of Rome expansion pack for the video game Age of Empires II: Definitive Edition features a campaign called "Sargon of Akkad", which depicts his conquest of Sumer and the rise of the Akkadian Empire.

See also
Media related to Sargon of Akkad at Wikimedia Commons
History of Mesopotamia
List of kings of Akkad
List of Mesopotamian dynasties

Notes
Passage 7:
Sennedjem
Sennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as "The Place of Truth"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title "Servant in the Place of Truth". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis. His tomb was discovered January 31, 1886. When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant in the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs.

See also

TT1 – (Tomb of Sennedjem, family and wife)
Passage 8:
Place of origin
In Switzerland, the place of origin (German: Heimatort or Bürgerort, literally "home place" or "citizen place"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances.

Acquisition of municipal citizenship
Swiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:

Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality.
Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.
Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check.The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen. 
Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing social welfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs to be taken when translating the term in Swiss documents which list the historical "Heimatort" instead of the usual place of birth and place of residence.
However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship.
A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent.

International confusion
Almost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have a place of origin identical to their birthplace. More confusion comes into play through the fact that people can have more than one place of origin.

Significance and history
A citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality. To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence.
The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes to abolish this law. The place of domicile is now the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residential community.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare.

See also
Ancestral home (Chinese)
Bon-gwan
Registered domicile


== Notes and references ==
Passage 9:
Place of birth
The place of birth (POB) or birthplace is the place where a person was born. This place is often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.
As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth.
Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort ("domicile of birth") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is considered unimportant.
Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registered domicile is a similar concept.
In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).
There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).
Some administrative forms may request the applicant's "country of birth". It is important to determine from the requester whether the information requested refers to the applicant's "place of birth" or "nationality at birth". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place.

Reference list
8 FAM 403.4 Place of Birth
Passage 10:
Motherland (disambiguation)
Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.
Motherland may also refer to:

Music
"Motherland" (anthem), the national anthem of Mauritius
National Song (Montserrat), also called "Motherland"
Motherland (Natalie Merchant album), 2001
Motherland (Arsonists Get All the Girls album), 2011
Motherland (Daedalus album), 2011
"Motherland" (Crystal Kay song), 2004

Film and television
Motherland (1927 film), a 1927 British silent war film
Motherland (2010 film), a 2010 documentary film
Motherland (2015 film), a 2015 Turkish drama
Motherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh War
Motherland (TV series), a 2016 British television series
Motherland: Fort Salem, a 2020 American science fiction drama series

Other uses
Motherland Party (disambiguation), the name of several political groups
Personifications of Russia, including a list of monuments called Motherland

See also
All pages with titles containing Motherland
Mother Country (disambiguation)

Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where was the place of death of Enheduanna's father?



Answer: Akkadian empire