I encourage you to check out the other spotlight talks too – there are three other fantastic talks on using research into human-animal interactions in antiquity while volunteering in zoos; 18th-century British painter Angelica Kaufmann’s use of classical antiquity; and a project for researchers of ancient gender and sexuality in Brazil. You can find all of them in this YouTube playlist.
(NB: the event is currently fully booked, but there is a waiting list in operation: see here for details. Most of the talks on publishing and disseminating your research are pre-recorded and available on YouTube here).
I have a new page on Humanities Commons, a free, not-for-profit site for sharing open-access research. Publications available there already include papers on a set of Linear B inscriptions painted on the side of jars used for transporting oil or wine; on the Mycenaean Greek word for “labyrinth”; on the structure and use of the Linear B writing system, and how this can be used to analyse the script’s development over time; on using palaeography (handwriting analysis) to reconstruct aspects of scribal practices and training; and on how Linear B was originally deciphered and shown to represent an early form of the Greek language. Head over to https://hcommons.org/members/annapjudson/ to check them out!
I’m delighted to be able to share some exciting news about the next stage of my research into Linear B and the Mycenaean scribes – after my current postdoctoral Research Fellowship at Gonville & Caius College, Cambridge comes to an end in the autumn, I’ll be moving to the British School in Athens on a two-year Marie Skłodowska-Curie Fellowship. These EU fellowships are designed to promote movement to and around Europe by postdoctoral researchers so they can go to whatever institution is best placed to support their research – I’m thrilled to be able to benefit from the vast range of knowledge and experience at the BSA, in particular that of Mycenaean archaeologist and Linear B specialist Professor John Bennet, who will act as my research mentor, and of members of the Fitch Laboratory, with whom I plan to collaborate. I’m equally excited, of course, at the prospect of spending two years living and working in Athens!
Last month I was teaching some classes on interpreting the texts of the administrative Linear B tablets from Late Bronze Age (‘Mycenaean’) Greece, and one of the texts we looked at read as follows:
‘Kerowos the shepherd (poimēn) at A-si-ja-ti-ja watching over the quadrupeds (kwetropopphi) of Thalamatās: 1 man’ (Pylos Ae 134)
In some ways, this is nice and straightforward by Linear B standards: we can linguistically interpret pretty much every word (and even where we can’t, their meaning is clear from context and other examples of the same – a-si-ja-ti-ja is evidently a place-name) and produce a translation of the whole sentence (there are some linguistic quibbles over exactly how the syntax works, but it doesn’t really affect the overall meaning). In other ways, it’s entirely characteristic of Linear B in that it’s so laconic that translating it produces as many questions as it answers. In particular, the question my students asked was ‘So what kind of animals are these quadrupeds?’- ‘quadrupeds’ being a literal translation of kwetro-popphi ‘four-footed [things]’ (in later Greek, tetrapous). I realized when they asked this that I simply didn’t know, and in fact had never really thought about it – so I decided to look into it. Continue reading “Queries about Quadrupeds in Linear B”
I recently jumped on the Twitter bandwagon of writing poems in the style of William Carlos Williams, since it was pretty clear to me that the internet could only be improved by having more poems based on Linear B tablets:
This is just to say
I have counted the tripods that were in the storeroom
and which you were probably wanting for the feast
Unfortunately one has only one foot and another is burned off at the legs
I thought now I’d talk a bit more about the actual Linear B tablets which inspired the poem, starting with the famous ‘tripod tablet’ from the palace of Pylos. This tablet famously proved that Linear B had been correctly deciphered as representing an early form of Greek, since the symbols representing different kinds of vessels matched their Greek descriptions: the three-legged vessels were preceded by the Greek word tripodes ‘tripods’, and jars depicted with four, three, and no handles were described as kwetrōwes ‘four-eared’, triōwes ‘three-eared’, and anōwes ‘with no ears’. (You can read more about this, and about the process by which Linear B was deciphered, here).
Once, while working in the National Archaeological Museum in Athens, I turned over a Linear B tablet from Pylos to find four deep marks left by the fingers of someone handling the tablet (presumably its maker and/or writer) soon after it was made, while the clay was still wet. For all that my research is all about trying to use the evidence the tablets provide to reconstruct the activities of their writers, I still felt pretty overwhelmed by the fact that I was putting my own (gloved!) hand into fingermarks made by a person who lived more than 3,000 years ago. But ancient hand- and fingerprints can do much more than make us feel a connection to the person who left those marks. There’s a wide range of archaeological research now being done on fingerprints, especially on ceramics, where they can give important information about the identities (particularly the gender) of the people making them — and they also play a part in the study of the Linear B tablets. Continue reading “CSI Knossos: palmprints on the Linear B tablets”