Pippa’s recent adventure in Oxford at the Navigating the Text conference (Merton/Queens Colleges) and Babel exhibition (Bodleian Library), featuring some beautiful books and objects
When you write something down, how do you arrange the information in the writing space? This is actually not a straightforward question to answer, and it can be affected by all sorts of contextual considerations. What is the medium being written on, and what are its physical features and dimensions? Does your society have conventions about how to write down and arrange information? Are you writing it down for other people to read and consult, or just for yourself? Is your message clear in the linguistic content of what you are writing, or do you need to add illustrations? How can you visually break down complex information to make it easier to navigate?
These were the sorts of questions on the agenda at the Navigating the Text conference I was attending in Oxford this weekend.
The second of our three big CREWS project conferences took place recently: Exploring the Social and Cultural Contexts of Historic Writing Systems (14th-16th March 2019, see here for programme). I had been excited about it for a long time, but when it came I was absolutely blown away by the quality of the presentations and the new things I learned and the ways it has developed my thinking on writing practices. I’m going to use this blog post to try to pass on some of what I learned by telling you about themes that kept turning up over the three days, even in papers on completely different topics.
My research has taken a fun turn towards practical experiments lately, as some of our Twitter followers may have noticed. It isn’t just because I wanted to get away from the computer (though I did…); it’s because I have been working on a problem where direct evidence is scarce and/or difficult to interpret, and where experimentation is surprisingly elucidating.
We know that during the Bronze Age a number of civilisations around the eastern Mediterranean were using clay to write on. From Mesopotamian cuneiform to Linear A and B in the Aegean, people found that this reusable natural resource provided a vital tool for making records. But they didn’t all use it in the same way, and they didn’t all use the same implements or methods to write on it – instead traditions of writing display considerable regional differences, whether or not there might have been any influences from one place to another. Continue reading “What to write with? Styli for clay tablets in the ancient Aegean and eastern Mediterranean”→
As someone who works on the written documents of the ancient Aegean and Cyprus, I come across clay tablets a lot. Clay was a very useful medium for writing in the ancient world because it was quite easily available and could be formed into different shapes, and all you need in order to write on it is a stick. Luckily for us, a clay tablet also has a good chance of surviving for thousands of years provided it has been baked.
A while ago I posted a picture of one of my favourite clay tablets on Twitter, a Linear B document that we label PY Ep 704 (which is code for saying that it comes from Pylos and deals with landholdings). (Photo courtesy of Silvia Ferrara.)
One of my favourite Mycenaean Linear B tablets, recording the landholdings of religious personnel at Pylos over 3,000 years ago – including Eritha and Karpathia, two priestesses recorded as failing to fulfil the terms on which they held their land. pic.twitter.com/N1Xgc31uPo
This week we are having a closer look at the smallest object in our special CREWS-themed display at the Fitzwilliam Museum, a tiny seal stone made of green jasper and featuring signs of the Cretan Hieroglyphic script. At just 1.4 by 1.1 cm, and dating to the 19th-17th centuries BC, it is a minute but fascinating testament to the earliest writing system attested in ancient Crete.
A quick post to let you know of an article I wrote on the syllabic writing systems of the ancient Aegean and Cyprus (though excluding Linear B). This was for the catalogue of an exhibition at the Fitzwilliam Museum called Codebreakers and Groundbreakers, which examined Michael Ventris’ decipherment of Linear B alongside Alan Turing’s breaking of the Enigma Code.
Other chapters in the volume focused on Linear B, while I was asked to write about the related syllabic writing systems of Crete and Cyprus.
For this week’s inscription post based on our CREWS display at the Fitzwilliam Museum, we’re going to be revisiting ancient Cyprus – this time in a much earlier period than we discussed for the Idalion Bilingual. This little item might look unassuming (it’s only a couple of centimetres in diameter, don’t be fooled by the photo!), but it is very important for trying to understand the earlier development of writing on Cyprus.
Image courtesy of the Trustees of the British Museum.
The item in question is a small ball made of clay, with writing in what we call the “Cypro-Minoan” script around the outside, which is on loan to us from the British Museum. It was found at the Cypriot site of Hala Sultan Tekke, in the island’s south-east. Continue reading “CREWS Display: A Cypro-Minoan Clay Ball”→