Representations: Material and immaterial modes of communication in the Bronze Age Aegean [Paperback]

John Bennet(Editor)

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ISBN: 9781789256413 | Published by: Oxbow Books | Year of Publication: 2021 | 336p, H9.4 x W6.7, B/w and color
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This volume presents a series of reflections on modes of communication in the Bronze Age Aegean, drawing on papers presented at two round table workshops of the Sheffield Centre for Aegean Archaeology on ‘Technologies of Representation’ and ‘Writing and Non-Writing in the Bronze Age Aegean’. Each was designed to capture current developments in these interrelated research areas and also to help elide boundaries between ‘science-based’ and ‘humanities-based’ approaches, and between those focused on written communication (especially its content) and those interested in broader modes of communication. Contributions are arranged thematically in three groups: the first concerns primarily non-written communication, the second mainly written communication, and the third blurs this somewhat arbitrary distinction. Topics in the first group include use of color in wall-paintings at Late Bronze Age Pylos; a reinterpretation of the ‘Harvester Vase’ from Ayia Triada; re-readings of the sequence of grave stelae at Mycenae, of Aegean representations of warfare, and of how ritual architecture is represented in the Knossos wall-paintings; and the use of painted media to represent depictions in other (lost) media such as cloth. Topics in the second group range from defining Aegean writing itself, through the contexts for literacy and how the Linear B script represented language, to a historical exploration of early attempts at deciphering Linear B. In the third group Linear B texts and archaeological data are used to explore how people were represented diacritically through taste and smell, and how different qualities of time were expressed both textually and materially; the roles of images in Aegean scripts, complemented by a Peircian analysis of early Cretan writing; a consideration of the complementary role of (non-literate) sealing and (literate) writing practices; and concludes with a further exploration of the color palette used at Pylos.

Table of Contents

Introduction - John Bennet

(a) Primarily Non-Written Communication
1. Representing in colours at the ‘Palace of Nestor’: original polychromy and painting materials - Hariclia Brecoulaki, Andreas Karydas and Maria P. Colombini
2. Representations of palatial staple finance in the Late Bronze Age southern Aegean: the ‘Harvester Vase’ from Agia Triadha and the gold sheet with relief procession from Peristeria - Paul Halstead and Valasia Isaakidou
3. Resurrection: the depiction of martial culture at LH IIIB Mycenae - Kate Harrell
4. Image, context and worldview: peak sanctuaries, tripartite buildings and the Palace at Knossos - Matthew Haysom
5. Materialising culture: the juxtaposition of images of violence and media as status symbols in the Late Bronze Age Aegean - Angelos Papadopoulos

(b) Primarily Written Communication
6. Redefining writing in the Bronze Age Aegean - Sarah Finlayson
7. Mycenaean scribes and literacy - Cynthia W. Shelmerdine
8. Representation and hidden technologies - Sue Sherratt
9. Mycenaean scribes and Mycenaean dialect: interpreting linguistic variation in the Linear B documents - Rupert Thompson
10. Arthur Evans and his efforts towards an understanding of Linear B - Jörg Weilhartner

(c) Combining Written & Non-Written Communication
11. Representing people through taste and smell: social status and sensory experiences in a Mycenaean palatial feasting context - Rachel Fox
12. ‘Representations of time’ in Linear B documents from Knossos and Pylos – Angeliki Karagianni
13. ‘Picture-writing’ and phoneticism after Scripta Minoa I - Artemis Karnava
14. The colourless narrative: some thoughts on the Mycenaean colour palette and the art of Pylian diplomacy - Mark S. Peters
15. Minoan seal-use and writing: from a functionalist to a more social approach – Ilse Schoep
16. Icon, Index, Symbol: Language Notation in the Cretan Hieroglyphic Script – Silvia Ferrara

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