Tag Archive: decipherment of Linear B



Rule 10b: Converting Linear B to Greek: Q series of syllabograms to Greek p & Rule 10c: Converting Linear B to Greek: Q series of syllabograms to Greek b:

q series b p



Rule 10a: Converting Linear B to Greek: Q series of syllabograms to Greek k:

q series k



translation of Knossos tablet KN 778 Cj 01 by Rita Roberts:

Knossos Linear B tablet KN 778 C j 01

 

 

 

 


translation of Knossos tablet fragments KN 775 M g 03 & KN 776b M f 01 by Rita Roberts:

Knossos tablets KN 775 M 6 03 & KN 776b M f 01

 

 


Cleopatra and Ptolemy in Egyptian hieroglyphics and in Linear B!

goddess Cleopatra beloved of her father LBKM

K L U P D R A Cleopatra LBKM

P T O L M Y S K L E O P A T R A LBKM


Translation of Knossos tablet KN 711a M h 01 according to Sir Arthur Evans by Rita Roberts:

KN 711 a M h 01

This translation pretty much speaks for itself. Rita amazed me by mastering the archaic ancient letter digamma #.


Translation of Linear B tablet Knossos KN 710 Ma 05 by Rita Roberts:

Linear B tablet KN 710 MA 05 by Rita Roberts

This translation is self-explanatory. The translation of the supersyllabogram O on top of the water jug is entirely appropriate. Notice that Rita Roberts is beginning to master the (archaic) ancient Greek alphabet.


Rita Roberts, translation of Linear B tablet KN 701 Mm 01:  

Linear B fragment KN 709 M m 01 two-handled cup

This is the first ever translation of a Linear B vessels or pottery fragment by Rita Roberts for her third, and final, year of university. In her third year, she is expected to master, first, Linear B tablets and fragments dealing with pottery and vessels, and secondly, tablet and fragments on textiles. The first category is the easier of the two to master, and so Rita will be concentrating on vessels and pottery tablets and fragments for the first quarter of her third year.
               

Guidelines for submissions to Les Éditions KONOSO Press now on academia.edu:

guidelines KONOSO Press academia.edu

Guidelines for submissions to Les Éditions KONOSO Press, Ottawa, Ontario, Canada, are now on academia.edu. Our new Press will be publishing online monographs and books only, from 40 to 200 pages long. Submissions will be accepted starting July 1 2018. Any person submitting papers should expect to wait 6 months before we can advise that person whether or not we have accepted the submission. Submissions guidelines are very strict. You must read them exhaustively. Submissions not following these guidelines will be automatically rejected.

The editors on our board of editors are of the highest calibre with the finest credentials. Here is the list of all our editors:

ISBN 978-0-9868289-1-1

Board of Editors/Conseil des rédacteurs

Richard Vallance Janke, University of Western Ontario, Emeritus

Editor-in-Chief

Alexandre Solcà

Associate Editor-in-Chief, Université de Genève

Spyros Bakas,

Chief Associate Editor, University of Warsaw

Associate Editors:

John Bengtson, University of Minnesota

Julia Binnberg, University of Oxford, Classical Archaeology

Nic Fields, University of Newcastle, England

Jean-Philippe Gingras, Royal Military College of Canada

Jorrit Kelder, University of Oxford, Oriental Studies, Associate Professor

Roman Koslenko, Mykolaiv National University & National Academy of Sciences, Ukraine

Haris Koutelakis, Kapodistrian University of Athens

Massimo Perna, Università degli Studi di Napoli Suor Orsola Benincasa

Philipp Schwinghammer, Universität Leipzig, Historisches Seminar

Olivier Simon, Université de Lorraine, independent researcher, PIE

The most renowned of these editors are Spyros Bakas of the University of Warsaw, an expert in ancient Mycenaean and Greek warfare, and Jorrit Kelder of the University of Oxford, one of the worlds most famous researchers in Mycenaean Linear B.

Our Press promises to become one of the world’s most prestigious publishers in ancient Aegean studies in short order.

You may submit your first paper as of July 1 2018.

Richard Vallance Janke, Editor-in-Chief, May 9 2018


Rita Roberts translation of Knossos tablet KN 160a J j 11, dealing with wine, corrected:

Linear B tablet KN 160a J j 11 wine

Rita Roberts translation of Knossos tablet KN 160a J j 11, dealing with wine, corrected, is trickier than the previous one she has translated to fulfill the requirements for her second year of university, KN 906 Da 02, dealing with livestock. Because this tablet is damaged, truncated left and right, it can be more difficult to establish meaning for certain terms. But not necessarily so. Rita struggled gainfully with this tablet. And this is understandable. What determines everything in the decipherment of any tablet, Linear A or B, is CONTEXT. If we cannot determine what any given word(s) mean in the actual context of the tablet, we sometimes fail to grasp the meanings of these words. But in the end, everything falls into place, and a relatively convincing translation can be gleaned from it, as we see in the illustration above.

The only character which occasions real difficulty is the supersyllabogram PE, which usually stands for seed(s). But if this the meaning to be extracted, it does not really make all that much sense, since grape seeds do not contribute much to wine, only the grapes do. The only explanation I can muster here is this: the grape seeds had to be extracted, i.e. removed, from the grapes to produce the wine. That makes sense. Finally, we find the ideogram for “olive oil” on this tablet, but how olive oil mixes with wine is a mystery to me, unless the olive oil is being served with bread along with the wine. But there is no mention of bread on this tablet. So some issues remain unresolved.

Richard


Rita Roberts translation of Knossos tablet KN 906 Da 02 corrected, livestock from the marketplace:

Linear B KN 906 D a 02

This is one of three tablets which Rita Roberts had to translate to qualify for her second year of university. This tablet is the easiest of the three, on an ascending scale of difficulty. Rita achieved the excellent mark of 91 % = A + for this tablet. Congratulations, Rita!

The other two tablets are extremely challenging, even for experts in Linear B.


Linear B tablet from Mycenae translated by Rita Roberts:

Linear B tablet from Mycenae translated by Rita Roberts 2018

Translation:

1. Wodiyeya Deminiya l [NOTE 1]
2. Mano * [2] + Arekasadaraqe = Mano * and Arekasadara 2
3. Risura + Qotaqe = Risura and Qota 2
4. Eritupina  + Teodoraqe = Eritupina and Theodora 2
5. Otowowije +  tukateqe = Otowowije and her daughter 2
6. Anea + tukateqe = Anea and her daughter 2
7. Pirowona + Kiraqe ** [3] = Pirowona and Kira 2
8. Pukaro * [2] + Ketideqe = Pukaro and Kedite 2
9. ? Scratched ...?moqe = and …?mo 2
10. ... Maraqe = and Mara 2
11. scratched ? 1
12. ? + Kiraqe ** = and Kira 2 [3]
13. blank

NOTES:
[1] Since in Line 1, Wodiyeya Deminiya l is followed by the number 1, this can only be one person. Thus, her name is  Wodiyeya Deminiya.
[2] * Mano * and * Pukaro * are men's names. Line 11 also refers to only 1 person, but the name of the person is truncated, i.e. it no longer appears on the tablet.
[3] ** kira ** - or Kira = Ki/ra or Kei/ra = onomastics. Also appears on a Linear A tablet as Kira (onomastics). Complements of Rita Roberts

Greek transliteration:

1. a / #odie/ia Deminei/a
2. b / Ma/noj A0leca/ndra te/ 
3. b / Risu/ra Bo/ta te/ 
4. b / E0riqoupi/na Qeodo/ra te/  
5. b / O0qo#o#iei/ej quga/ter te/ 
6. b / A0ne/a quga/ter te/  
7. b / Piro#o/na Kei/ra te/ 
8. b / Puka/roj  Keti/dej te/ 
9. b / ... moj te/
10. b / ... M/a/ra te/ 
11. ... a /
12. b / Kei/ra te/ 


Article, Linear B Lexicon for the Construction of Mycenaean Chariots just published on academia.edu:

Click on the TITLE to view and download the article:

aEpochs title

just uploaded to my academia.edu account at the link above. To download it, click the green DOWNLOAD button on the right side of the document.

Illustrations from the article:

bNew Kingdom chariot

c4 spoke chariots

dcomposite parts Mycenaean chariots

eMycenaean Chariots Lexicon

gKnossos tablet KN 894

This Lexicon is the only one of its kind in the entire world. To date, no one has ever published a Linear B Lexicon on a subject as focused as the Construction of Mycenaean Chariots.

This article has just been published in the prestigious European journal, Epohi (Epochs), Vol. 25, Issue 2 (2017), published bi-annually by the Department of History of St. Cyril and St. Methodius, University of Veliko, Tarnovo, Bulgaria. I have been invited by the Editor-in-Chief, Stefan Iordanov, to publish new papers in the near future (sometime in 2018) and again in 2019. Considering that the Editor-in-Chief, Stefan Iordanov, solicited me to submit this article sight unseen, you can be sure I shall submit more papers to the journal.


Translation of Linear B tablet KN 903 Da 01 by Rita Roberts:

KN 903 D a 01 livestock

Here we have Rita Roberts translation of Linear B B tablet KN 903 Da 01. In her own decipherment, Rita translated Watoakoraya as a personal name of a shepherd or herdsman, but this is clearly wrong, because akoraya is genitive singular and means “from the market” and Wato is archaic dative singular for Watos, which is a place name. So the proper translation is “from the market at Watos”. Otherwise, her translation is sound.


Translation of Linear B tablet KN 894 Do 04 by Rita Roberts:

KN 898 D o 04 opxen ZE

Here we have Rita Roberts translation of Linear B B tablet KN 894 Do 04, which I find quite fascinating, even though it is so short. This is because of the supersyllabogram ZE, which literally means “yoked with a pair of or as Rita Roberts puts it a team of oxen”. In addition, we have the enclitic QE following the name Tomako, which means “and”, implying that there was another herdsman mentioned before Tomako; hence, the tablet is left-truncated as well as right-truncated.


Linear B tablet KN 702 M b 11, “to all the gods” by Rita Roberts

Knossos tablet KN 702 M b 11

This is one of the most significant of all Linear B tablets, as it refers “to all the gods” . But who are all of these gods in Mycenaean Greek? Beneath the translation all of the Mycenaean gods are listed. We notice that whereas many of them survived into archaic and classical Greek (those tagged with an asterisk * after them), some did not. They simply disappeared after the fall of Mycenae ca. 1200 BCE. However, this does not mean that most of them were not (highly) significant to the Mycenaeans. We cite in particular Potnia or Potnia Theron = Mistress (of the Wild Beasts), Emaha2 (Emahai), Manassa, Presphaion, Qerasiya (Kerasiya) and Tiriseroe.


Translation of Linear B tablet KN 347 D x 01 by Rita Roberts:

Linear A tablet KN 347 D x 01

 


Translation of Linear B tablet KN 349 J b 12 by Rita Roberts:

Linear A tablet KN 349 J b 12

 


In this life or the next… a marvelous translation into ancient Greek and Mycenaean Linear B:

I just received an e-mail today from Brian Wyble, who sent me the inscription in English, ancient Greek and Linear B you see here:

in this life or the next Linear B and Greek620

What is so astonishing about his translation into both ancient Greek and Mycenaean Linear B is that he got both bang on, even though this is his first ever attempt at writing in both scripts. Given that he is just now learning ancient Greek and Mycenaean Greek simultaneously, I am frankly astonished by his amazing achievement. I have invited him to follow Linear A, Linear B, Knossos and Mycenae, and to start learning Linear B in earnest, so that he can soon turn to deciphering Linear B tablets. And believe me, as my colleague Rita Roberts can only too well attest to, he has his work cut out for him, in view of the fact that there are at least 1,000 tablets I can send him for decipherment.


How circular language in the movie, Arrival, determines the aspacial/atemporal nature of logograms throughout the ages:

In the movie, Arrival (2016), which chronicles the arrival on earth of 12 mysterious ships, apparently from outer space, the following statements leap out at us:

parsing the language of the heptapods in the movie, Arrival

1. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity.  
2. How heptapods write: ... because unlike speech,  a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly.

The key to all of this is the phrase a logogram is free of time. Allow me to illustrate. Logograms are also often called ideograms, and that is what I prefer to call them. Another word to describe them is icon. When we examine ancient Linear A and B ideograms and compare them with modern ones, the results are astonishing, to wit:

ArrivalParadeandswords

horsesLinearBandmodern

manwomanscaleswheel

All of the aforementioned examples make it quite clear that ideograms, whether they be as ancient as those in Linear A and Linear B (i.e. about 3,400 years old) or modern ... or for that matter, neolithic or even earlier, all bear a striking resemblance to one another. Take for instance the Linear A ideogram for “scales” and compare it with just one modern one (among so many others), and we see immediately that they are extremely similar. Now take the Linear B ideograms for man” and “woman” and compare these with the washroom symbols for the same and once again the similarity is almost too good to be true. Then there is the Linear B ideogram for a four-spoke wheel compared with a modern one for an eight-spoke wheel. The number of spokes is not relevant to this discussion, only the fact that the ancient Linear B ideogram for “wheel” is practically identical to the modern one.

The implications for the decipherment of ideograms in any language, ancient or modern (let alone Linear A and Linear B) versus those in any modern language are staggering. We can be sure that the ancient ideograms varied little from one language to another, let alone between Minoan and Mycenaean. In fact, the syllabogram TE, which sometimes represents wheat, in Linear A and Linear B is almost identical to the same ideograms in cuneiform!

It is patently obvious that since the distinction between the ancient ideograms and their modern equivalents enumerated above is so thin, all of these ideograms (or logograms or icons) are not only time independent (atemporal) and spatially independent (aspatial), they are also language independent. This is a stunning phenomenon.

The implications for the further decipherment of Linear A are simply overwhelming.

And this is why in the movie, Arrival, the heptapods assert, “There is no time.”


Minoan Linear A, Linear B, Knossos & Mycenae

Minoan Linear A, Linear B, Knossos & Mycenae

Reowr

Poetry that purrs. It's reowr because the cat said so.

Egyptian Moon ~My love of Ancient Egypt~

Hieroglyphic,Ancientegypt,archaeology

Eris' Smile

I'm a reconstructionist-ish Hellenic Polytheist. My pronouns are they/theirs and fae/faers, and I am gay as hell.

CrapPile

A blog about writing, society, and life itself

Super Sleep Heavy

For times when sleep don't come easy

bal837

A topnotch WordPress.com site

Santorini Tours

Private Tours in Santorini

Demetrio Demetriadi

Σκιᾶς ὄναρ ἄνθρωπος…

Duplicate My Success

How to be successful in internet marketing.

A Geordie Lost in London

How to live the London life, on a Northern budget

Penelope Burns

Learn How to Be a Productive Blogger

Gleaning The Scriptures

The Savior Lives To Teach.

Macedonian Ancestry

"I thank the gods for being Greek" - Alexander the Great

THE GEOPOLITICAL CHESS GAME

Geopolitics - The Road To Global Ruin * Γεωπολιτική - Ο Δρόμος Προς Παγκόσμια Καταστροφή

Care, Bliss and the Universe

Life, the Universe and Yourself

alexankarrbooks

honey says my tittygame's bananas

William Rubel

The Magic of Fire : Traditional Foodways

Albania -ilire- Pellazgët

GJUHA SHQIPE_ETIMOLOGJI

anne frandi-coory

A Life in Two Halves

Traditional Polytheist

A site devoted to the study and discussion of ethnic and traditional polytheism throughout the world, in regard to its nature, history, and present standing in general.

Rilkes Panther

fictional stories and social commentary

LAZYBUTHEALTHY

Easy healthy recipes for lazy busy people

The Whirling Bee

Reality has no walls, no edges - a journey in altered states of consciousness

SV3DPRINTER

Science and technology research based on 3D and 4D Printing

Diary of a Pagan Art Student

Like the title says

CreyenteAarav

Celebrating Poetry.

O LADO ESCURO DA LUA

Minha maneira de ver, falar, ouvir e pensar o mundo... se quiser, venha comigo...

blog bangla mail

Welcome My Site

GIRLS16@LUND

4th Lund Conference on Games, Interaction, Reasoning, Learning and Semantics

Site Title

“Love recognizes no barriers. It jumps hurdles, leaps fences, penetrates walls to arrive at its destination full of hope.” — Maya Angelou

LinneaTanner.com - Apollo's Raven

LinneaTanner.com - Apollo's Raven

When Women Inspire

Inspirational Women | Health and Lifestyle Tips

Dirty Sci-Fi Buddha

Musings and books from a grunty overthinker

Yahuah Is Everything

My blogs on The Bible and the true name of God Yahuah and His Son,Yahusha,

Musings on History

Teacher looking at Ancient History and Gothic Literature in an historical context mainly.

The Deadliest Blogger: Military History Page

The historical writing of Barry C. Jacobsen

THE SHIELD OF ACHILLES

Artistic Reconstruction and Original Translation From Homer's "Iliad" by Kathleen Vail

Akhelas Writing

The Myriad Musings of Austin Conrad

%d bloggers like this: