Learning about ancient writing

We recently had the pleasure of being involved in a number of outreach events organised through the Cambridge Festival of Ideas. That meant talking to the public about our work and showing people (especially groups of children) how to write in ancient writing systems. These are more than ‘just’ outreach events for us – they are a valuable opportunity to put our theoretical work into practice and share it with others!

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You don’t have to be present at these events to join in! If trying your hand at ancient writing appeals to you, have a look at our ‘write your name’ sheets HERE. Currently available are the ‘standard’ Greek alphabet, the Cretan alphabet, Phoenician, Ugaritic cuneiform, Linear B and Egyptian hieroglyphics. They can be downloaded and used for free so please do have a look and try writing your name or a message.

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First up was the Prehistory and Archaeology Day organised by the McDonald Institute in Cambridge. This was a big event with all sorts of different activities, where the opportunity to learn an ancient writing system was just one of the possibilities on offer. Philip helped to run a drop-in stall (alongside colleagues from Archaeology and Classics) showing people how to write in Ugaritic and Akkadian cuneiform as well as other scripts. The practical element to this was not only learning to write in these scripts but also using a stylus to write something on a clay tablet.

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Making Ancient Tablets 5 – Further stylus improvements

Philip’s post about the Prehistory and Archaeology Day last Saturday – and the problem of finding the right stylus for writing Ugaritic cuneiform in clay.

 

Ancient Worlds

About a year ago I posted a series following my attempts to write Ugaritic cuneiform, first in plasticine and then in clay. I ended up using the square end of a chopstick for a stylus, and this is what I’ve been doing ever since, including in my cuneiform baking. It works, but it’s fiddly – the stick has to be held just right to make the wedge-shaped prints, and it takes practice to stop them being large and clumsy.

Last weekend I took part in a Prehistory and Archaeology Day as part of Cambridge University’s Festival of Ideas. Hosted by Cambridge Archaeological Unit, this offered hundreds of members of the public – mostly children – the chance to try their hands at a wide range of archaeology-related activities, from spear-throwing and archery to excavation and osteology. The ancient writing systems stall was particularly eclectic, with academics from the Faculty of…

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Coming up at CREWS…

Here at the CREWS project we are excited to be involved in a number of activities that are coming up in the next couple of months. Here is a round up…

Cambridge University hosts the Festival of Ideas in late October, bringing to the public all the most exciting aspects of research going on at the university – but in the most accessible and fun waysprehist.jpg we can think up!

First up, we will be at the McDonald Institute’s Prehistory and Archaeology Day, where trying your hand at ancient writing will be just one of the activities on offer. This is an all day event on Saturday 21st October at the Cambridge Archaeological Unit.

Also coinciding with part of the Festival of Ideas is a brand new exhibition at the Fitzwilliam Museum in Cambridge, Codebreakers and Groundbreakers. This exhibition will examine various aspects of the codebreaking process by focusing on two important 20th century events: the breaking of the Enigma code by Alan Turing and the decipherment of Linear B by Michael Ventris. Opening on 24th October, it will be running until early February – so if you have a chance to come to Cambridge in this period, please do drop by and have a look! Continue reading “Coming up at CREWS…”

Learning Ugaritic and Making Tablets

DSCN0025Since I joined the CREWS Project last November, I’ve been teaching myself Ugaritic. Over the last few weeks I’ve had the chance to put that knowledge to work. It’s traditional among Cambridge’s classical linguists to spend the last term of the academic year learning a language outside the usual repertoire of Greek and Latin. This year it was my turn to lead the group in Ugaritic. Continue reading “Learning Ugaritic and Making Tablets”

Learning about Cuneiform Tablets Behind the Scenes at the British Museum

We’ve talked before on this blog about the importance of hands-on experience with inscriptions. Seeing and handling the real thing gives a much clearer idea of the practical realities of reading and writing an ancient script than working from a transcription or even a drawing or photograph.

So I was very lucky this week to be able to visit the British Museum with Cambridge’s Assyriologists, for a behind-the-scenes tour and a hands-on session with some of their many cuneiform tablets.

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Phaistos Discuits!

We all love a good pun. And by ‘we’, I mean ‘I’, and by ‘good’ I mean ‘terrible’. So for a long time I’ve wanted to make ‘Phaistos Discuits’ – biscuit versions of the famous Phaistos Disc.

The Phaistos Disc is probably the most controversial inscription from ancient Crete, showing a ‘writing system’ (if that is what it is) that is almost unparalleled – a one-off as far as ancient inscriptions go. Despite some (really very unconvincing) attempts at decipherment, our understanding of this object remains extremely limited. However, it is just the perfect shape to turn into a biscuit!

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Hands-on with Cuneiform

When I joined the CREWS Project and started my research on the context of writing at Ugarit, one of the challenges was getting to grips with Akkadian. Ugarit was a tremendously cosmopolitan and multilingual city, at the crossroads between the Mediterranean, Mesopotamia and Anatolia and this means that the writing we have from the city comes in a wide range of languages and scripts. The most common are Ugaritic – usually written in a form of alphabetic cuneiform  – and Akkadian. Continue reading “Hands-on with Cuneiform”

How to make a cylinder seal

In the ancient world, if you wanted to sign something you used a seal. They came in various shapes and sizes – stamps, seals, signet rings – but the general idea was always the same: you had a small object that you could press into clay or wax to mark it with a design unique to you – just like a signature. This could be used in various ways. In the Near East, for example, legal decisions or transactions might be recorded on a tablet, and then all the witnesses would press their seals into the clay next to their names. In other cases it could function as an official lock – a door or container-lid could have a blob of clay pressed over the join and this would be marked with an official’s seal. If the clay was broken – or if it had been replaced with one without the seal – then people would know it had been tampered with. Here’s one of the most famous examples of this: the unbroken clay seal on the tomb of Tutankhamun, photographed before it was opened in 1922.

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Making and baking inscriptions – and the CREWSmas party!

Term-time has recently finished here, and the CREWS project team has been taking part in some rather jolly end-of-term activities.

The first was the final session of the ‘Linear A self-help group’, a series of seminars we have been running where a number of colleagues working on Linear A or related scripts have been presenting their work and discussing their ideas. For the final meeting, we decided to have a practical session, and to try making our own inscriptions using modelling clay. You also can read about it on our colleague Anna Judson’s blog HERE.

What are Linear A and Linear B?

Linear A was used around the 19th-15th centuries BC, in Crete and some of the islands, to write an unknown language that we label ‘Minoan’ (we know the values of many signs, but still do not understand the language).

Linear B was used around the 15th-13th centuries BC, in Crete and on the Greek mainland, to write an early form of Greek.

Why bother trying to make our own inscriptions? Well, actually there are still a lot of unanswered questions about the production of clay tablets in the ancient Aegean. How did the scribes achieve such detail in the more complex signs? What did they use to write with? How did they create the flat surface for writing on? Why are Linear B ‘palmleaf’ tablets (i.e. small elongated ones that can be held in the palm of the hand) curved on the back but flat on the top? We started off the session with an illuminating presentation by PhD student Ester Salgarella on some of these problems, and then we set about trying to answer some of them through a practical attempt at making our own tablets.

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