Cambridge-based readers of this blog may be interested to know about two events focusing on ancient writing that I’m involved in as part of the Festival of Ideas (which starts today, October 15th, and runs until the 28th):
Raiders of the Secret Scripts: this is a free, drop-in event for adults at the Museum of Classical Archaeology, 7-9pm on Friday 19th. Have a go at deciphering inscriptions to follow the trail around the gallery (all necessary information provided!), try your hand at writing a curse tablet, find out more about different ancient writing systems – and have a glass of wine at the same time! I’ll be there to help out and answer your questions, along with colleagues of mine from the CREWS project.
On the Edge: Writing in Roman Britain: this is a lunchtime talk in the Classics Faculty on Wednesday 24th, 1.15-2pm; it’s also free, but prebooking is required. The festival’s (fairly loose) theme is “extremes”, so I thought it would be fun to look at the written texts from one of the extreme edges of the Roman Empire. Britain has produced a remarkable range of documents – from gravestones to letters, legal documents to curses, and much more – including some remarkable recent finds of writing-tablets from the City of London. Come along to find out more about what these documents are, who wrote them, and what they tell us about life in Roman Britain!
There’s been a lot of media excitement in the last few days over the discovery of a clay tablet at the ancient Greek sanctuary of Olympia (home of the original Olympic Games), with 13 lines of the ‘Odyssey’ inscribed on it. It’s certainly a very nice find – unlike in the Late Bronze Age period that I study, inscriptions of any kind on clay tablets are unusual at this point (the 3rd century CE, when Greece was part of the Roman Empire) – though it’s fair to say that most of the excitement has been due to the Homeric text and particularly to the claim that this is the oldest text of any part of the Odyssey. As plenty of other Classicists have been quick to point out, this isn’t actually true – there are plenty of earlier texts of (parts of) the Odyssey, e.g. on papyri from Egypt, and the oldest known example is an inscription on a potsherd from Olbia, modern Ukraine, dating to the 5th century BCE. This is just a quick post to provide some helpful links for anyone wanting to know more about this find:
Here is the original press release from the Greek Ministry of Culture (in Greek).
Here is a blogpost by ‘The Philological Crocodile’ correcting some of the errors that have appeared in a lot of the media reports, and speculating that the inscription could be a votive offering by a rhapsode (a reciter of the Homeric poems).
Here is a very detailed blogpost by ‘Kiwi Hellenist’ with a transcription and annotated photograph, as well as lots more details and a round-up of some of the news stories.
I recently joked that a priestess called Karpathia, who’s recorded in a Linear B tablet from Pylos as failing to work properly, should be the patron of Twitter, and a lot more people seemed to like the idea of a procrastinating Mycenaean priestess than expected – so I thought I’d write a bit more here about Karpathia and her fellow priestesses, and what we know about them from the Linear B records.
I'm not procrastinating. I'm actively engaging in the disruption of traditional academic narratives via social media.
Yet another announcement of an event I’m speaking at…but this time it’s a two-day conference with 30 other people also taking part! The Cambridge Aegean Archaeology Group‘s conference on ‘Connections, Collaborations, and Current Research’ is taking place in the McDonald Institute for Archaeological Research on June 14-15. I’ll be speaking about the ways in which Mycenaean scribes edited and changed their texts and what this can tell us about their writing processes – something I’ve blogged a bit about here before – and I’m particularly excited about the two other talks in the epigraphy panel, which are going to be about the processes of preservation affecting the survival (or not) of the Linear B tablets and other Bronze Age documents, and about the use of digital tools for epigraphic research, collaboration, and public engagement. But there are also going to be a huge range of other talks on the themes of ‘Animals and Society’, ‘Cities and Landscapes’, ‘Rethinking Material Culture’, ‘Contextualising Connectivity’, and ‘Bodies and Burials’, plus keynotes on the recent excavations on the island of Keros and connections between monumental burial traditions around the Black Sea region. It should be an excellent couple of days – anyone who’d like to attend (from Cambridge or elsewhere!) can register for free here up until June 1st, and the full programme is here.
Being an epigrapher – someone who studies inscriptions – definitely means that I pay a lot more attention to the different kinds of writing that I see as I walk around a city, and that happens even more when I’m learning a language and so trying to practice reading as much as possible. While walking around Athens during my recent stay there, I found myself thinking a lot about the similarities between the kinds of inscriptions I was seeing and classical Greek and Roman inscriptions — particularly when it came to graffiti, which is something that Athens has a LOT of, and of which quite a lot of ancient examples also survive, mainly from the Roman cities of Pompeii, Herculaneum, and Ostia. Here’s one of the nicest (most optimistic) graffiti messages I saw in Athens, which reads “Αθήνα η πόλη της τέχνης και της ελπίδας!!” (Athina i poli tis tehnis ke tis elpithas) — “Athens, the city of art and of hope!!”
This weekend I went to visit an exhibition in the Bodleian Library in Oxford called ‘Designing English: Graphics on the Medieval Page‘ (on until April 22 2018, and free to visit) – a display of medieval manuscripts, but with the focus not on the content but the way that their writers and illustrators went about creating them. The layout of the text itself and any accompanying images, the use of different coloured inks in different parts of the text, the addition of marginalia, and even the physical format of the book or manuscript were all shown to be just as important to the writer – and the reader – as the actual words themselves.
Illustrations aided understanding (as in herbals, for instance, whose pictures were vital in showing which plants were being described, or in the chess manual which included diagrams of chess boards); key words or passages could be highlighted by the use of colour or through the spacing of the text to draw the reader’s attention (particularly important for texts intended to be read out loud, such as sermons); physical form could relate to function, e.g. in making a book small enough to fit in a pocket to carry around, or to ideology, as shown by the books of royal genealogies, designed to fold out into a single long sheet so as to present one unbroken line of inheritance. Continue reading “Designing English and Linear B”
Now that the Codebreakers and Groundbreakers exhibition is over, I’m able to make my catalogue chapter, ‘The Decipherment: People, Process, Challenges‘, available here for anyone who’d like to read it (click on the link for a PDF file)! It’s about the process by which the Linear B script was deciphered, the main people involved – Emmett L. Bennett, Alice Kober, Michael Ventris, and John Chadwick – and the remaining difficulties involved in reading and interpreting the documents written in this script.
Readers may also be interested in seeing some of the correspondence between Ventris and Chadwick that’s quoted in the chapter – PDFs of a selection of their letters are available on the website of the Mycenaean Epigraphy Group (the research group I’m part of in the Cambridge Faculty of Classics), and you can view them here.
I hope you enjoy the chapter, and if anyone has any further questions about Linear B and the decipherment after reading it, please ask me in the comments!