Happy International Lego Classicism Day to all our friends and colleagues! In celebration this year, I have been working on something special: a re-imagining of the cover art from John Chadwick’s The Mycenaean World book, in a 3D Lego model. Far from a just-for-fun exercise, this actually has some helpful practical applications in making us question what Mycenaean scribes did at work, and how Linear B archives functioned.
The CREWS project Twitter feed has gone Lego crazy today, as you may have noticed. And with good reason, because today is International Lego Classicism Day (look for the #ILCD2018 hashtag on Twitter and you’ll see what I mean).
Our resident CREWS office scribe was the first to get in on the act.
A new published article based on my CREWS project research has just appeared in print, with a focus on non-administrative documents written in Linear A.
Here is a link to a PDF copy:
• ‘Writing ‘systems’: Literacy and the transmission of writing in non-administrative contexts’ in Jasink, E.M., Weingarten, J. and Carraro, F. (eds.) Non-scribal Communication Media in the Bronze Age Aegean and Surrounding Areas: The semantics of a-literate and proto-literate media, Periploi 9, Firenze 2017, 81-100.
Last week I had the pleasure of participating in the Bloomsbury Summer School in Egyptology, where I developed my reading in Egyptian hieroglyphics. It was a very rich experience, and it certainly improved my knowledge of Middle Egyptian. I wanted to do this because Middle Egyptian hieroglyphics omits almost entirely the writing of vowels. This is the same characteristic in Phoenician and Ugaritic writing systems that I am investigating for my part in the CREWS project.
Detail from coffin of Khnumnakht, Middle Kingdom. Met Museum New York, Rogers Fund, 1915 (http://www.metmuseum.org/art/collection/search/544326).
The fact that these three writing systems do not (in principle at least) record vowels is at odds with other notable second millennium BC writing systems, namely Linear B (for Greek) and (non-Ugaritic) cuneiform, which do record vowels. A priori it therefore seems plausible that there should be a link, either genetic or typological, between the Egyptian writing system and that of the early north-west Semitic alphabetic writing systems. Before exploring some possible links in future blog posts, for those who are not necessarily familiar with the Egyptian writing system, I thought in this blog post I would lay out some of the basic principles of the Egyptian hieroglyphic writing system. Continue reading “Learning Hieroglyphics!”
Legend has it that it was the Egyptian god Thoth who created writing or, as the Egyptians called it, medu netjer “the words of the gods” (this is what we refer to as hieroglyphics, after the Greek ἱερός “holy” and γλύφω “to carve”). His intention was to give wisdom and a better memory to the Egyptians, but the god Re thought that writing would have the opposite effect, making people rely on written documents for wisdom and memory. However, Thoth still gave writing to a restricted group: the scribes. For this reason, scribes honoured Thoth as their patron.
The god Thoth with writing tools.
Today we will continue our journey through the myths about writing and its patron gods in Ancient Mesopotamia. This area is especially important, as it is in the Sumerian city of Uruk where we have the first attestations of writing in the form of pictographs c. 3200 BC. Later, Sumerians would develop from these pictographs what we call “cuneiform” writing (which consists of abstract wedge-shapes representing words or syllables).
Mesopotamian pictograms. http://www.metmuseum.org/art/collection/search/329081
One of the Mesopotamian stories that talks about the creation of writing involves Enmerkar, one of the mythological kings of Uruk. According to the Sumerian King List he was the second king of the First Dynasty of Uruk and the builder of the city. In the epic poem that narrates the conquest of Aratta by king Enmerkar it is said that his messenger, who had the task to transmit the messages between the two kings (Enmerkar and the king of Aratta), was failing to remember these messages. Therefore, Enmerkar had the idea of writing them down on clay.
We’re feeling full of the joys of spring today, so it seemed a good time to hunt for some of our favourite spring-themed inscriptions… And when I say spring-themed, yes, I’m talking cute animals!
1. A Late Bronze Age clay cow figurine with a Cypro-Minoan inscription on its side and a pattern of cross-hatching on its forehead.
Image courtesy of Silvia Ferrara.
Cypro-Minoan is a syllabic script of ancient Cyprus (in use between the 16th and 10th centuries BC), related to Linear A and Linear B. It is undeciphered, so unfortunately we do not know what the short text on the side of this cow says. This is the only example of a Cypriot clay figurine with an inscription, but Cypro-Minoan texts are found on a wide variety of different objects.
(Technically, we should really call this little chap a zebu, which is a type of bovid with more raised shoulders.) Continue reading “The Writing on the Cow: Cute Animal Inscriptions for Springtime!”
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”