summer haiku d’été – sunflower = tournesol chiaroscuro russet in the rainy mist sunflower in tears clair-obscur roux dans la brume pluvieuse tournesol en larmes Richard Vallance Reprint from Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, autumn 2006 Réimpression tirée de Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, automne 2006
autumn haiku d’automne – russet bonzai the last vestige of a frosty fall – russet bonsai le dernier vestige d’un automne glacé- bonsai roux Richard Vallance Reprint from Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, autumn 2006 Réimpression tirée de Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, automne 2006
Article, Linear B Lexicon for the Construction of Mycenaean Chariots just published on academia.edu
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:
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:
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.
My article, Lexicon of Chariot Construction in Mycenaean Linear B, has been accepted in advance by the international historical journal, Epohi/Epochs
My article, Lexicon of Chariot Construction in Mycenaean Linear B, has been accepted in advance by the international historical journal, Epohi/Epochs:
I shall be submitting it to the editor-in-chief, Stefan Iordanov of the Faculty of History of St. Cyril and St. Methodius University of Veliko Tarnovo (hence forward referred to as UVT), Bulgaria. The editorial board consists of highly prestigious researchers:
Stefan Yordanov, Associate Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo
Ivan Tyutyundjiev, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo
Deputy Editors in Chief:
Plamen Pavlov, Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo
Nikolay Kanev, Associate Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo
Acad. Vasil Gyuzelev, Prof., Dr. Hab., Member of the Bulgarian Academy of science and President of the Association of Byzantinists and Medievalists in Bulgaria
Demetrios Gonis, Dr. Hab., Professor Emeritus of University of Athens (Greece)
Mirosław Jerzy Leszka, Prof., Dr. Hab., University of Lodz (Poland)
Tatyana Leontyeva, Prof., Dr. Hab., State University of Tver (Russia)
Milko Palangurski, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo
Petko Petkov, Проф. д-р Петко Петков, St. Cyril and St. Methodius University of Veliko Tarnovo
Rumen Yankov, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo
Mariya Ivanova, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo
Dan Dana, Chargé de recherche de 1ère classe, Ph.D., Centre Nationale de la Recherche Scientifique – Paris (France)
Nikolay Kanev, Associate Prof., Ph.D.
Stefan Yordanov, Associate Prof., Ph.D.
You do not want to miss this Fantastic Twitter account, FONT design company of the highest calibre!
You do not want to miss this Fantastic Twitter account, FONT design company of the highest calibre! I have just fortuitously come across what I consider to be the most fantastic font site or Twitter account on newly designed, mostly serif, extremely attractive fonts, some of which they offer for FREE!!! You simply have to check them out. Click here to follow typo graphias: Here is a composite of some of the astonishing font graphics on this amazing site! Serendipitously happening on this account put a bee in my bonnet. I simply had to send you all on the fast track to downloading and installing the Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C + several beautiful ancient Greek fonts, of which the most heavily used is SPIonic, used for Ionic, Attic, Hellenistic and New Testament writings and documents. Hre are the links where you can download them, and much more besides! Colour coded keyboard layout for the Mycenaean Linear B Syllabary: includes font download sites for the SpIonic & LinearB TTFs The first ever keyboard map for the Arcado-Cypriot Linear C TTF font! which also includes the direct link to the only site where you can download the beautiful Arcado-Cypriot Linear B font, here: How to download and use the Linear B font by Curtis Clark: Easy guide to the Linear B font by Curtis Clark, keyboard layout: Here is the Linear B keyboard. You must download the Linear B font as instructed below: And here is the actual cursive Linear B font as it actually appears on the most famous of all Linear B tablet, Pylos Py TA 641-1952 (Ventris): What’s more, you can read my full-length extremely comprehensive article, An Archaeologist’s Translation of Pylos Tablet Py TA 641-1952 (Ventris) by Rita Roberts, in Archaeology and Science (Belgrade) ISSN 1452-7448, Vol. 10 (2014), pp. 133-161, here: in which I introduce to the world for the first time the phenomenon of the decipherment of what I designate as the supersyllabogram, which no philologist has ever properly identified since the initial decipherment of Mycenaean Linear B by Michael Ventris in 1952. Unless we understand the significance of supersyllabograms in Linear B, parts or sometimes even all of at least 800 Linear B tablets from Knossos alone cannot be properly deciphered. This lacuna stood out like a sore thumb for 64 years, until I finally identified, categorized and deciphered all 36 (!) of them from 2013 to 2014. This is the last and most significant frontier in the complete decipherment of Mycenaean Linear B. Stay posted for my comprehensive, in-depth analysis and synopsis of The Decipherment of Supersyllabograms in Linear B, which is to appear early in 2017 in Vol. 11 of Archaeology and Science. This ground-breaking article, which runs from page 73 to page 108 (35 pages on a 12 inch page size or at least 50 pages on a standard North American page size) constitutes the final and definitive decipherment of 36 supersyllabograms, accounting for fully 59 % of all Linear B syllabograms. Without a full understanding of the application of supersyllabograms on Linear B tablets, it is impossible to fully decipher at least 800 Linear B tablets from Knossos.
Mycenaean Linear B Progressive Grammar: Verbs/Infinitives:
Mycenaean Linear B Progressive Grammar: Verbs/Infinitives: As of this post, we shall be reconstructing natural Mycenaean Linear B grammar from the ground up. When I refer to natural Mycenaean Linear B, I mean not merely the Linear B extant grammatical forms in the standardized, formulaic and fossilized language of inventories which we encounter on extant Linear B tablets, but grammatical forms common to the entire natural, spoken language. While we do not have any direct evidence of the syntactical construction of the spoken language, we can nevertheless largely reconstruct grammatical forms in natural Mycenaean Greek. Such reconstructed forms are referred to as derived. In this post, we introduce attested Mycenaean Linear B infinitives only, i.e. those which are found on extant tablets. In the next post, we shall feature a considerable number of derived infinitives, which are nowhere to be found on the extant tablets, but which nevertheless can be reconstructed with relative ease. Linear B verbs, just as all verbs in every East Greek dialect down from Mycenaean to early and late Ionic and Attic, among other dialects, are classified as follows: Thematic Verbs: These are the so-called standard verbs, which are by far the most common in all ancient Greek dialects. Thematic verbs are sub-classed into three voices, active, middle and passive. The middle voice is unique to ancient Greek, and is self-referential, by which we mean the subject acts upon him- or herself or of his or her own volition. The middle voice also includes reflexive verbs. Athematic Verbs: Athematic verbs are far less common than thematic, but they are the most ancient of ancient Greek verbs. They have already appeared completely intact by the time Mycenaean Greek has entrenched itself. The Mycenaean conjugations of athematic verbs are very similar, and in some cases identical to, their conjugations in much later Ionic and Attic Greek, and must therefore be considered the root and stem of the same class of verbs in later classical Greek. The fact that athematic verbs were already fully developed by the era of Mycenaean Greek is a strong indicator that the Mycenaean dialect is not proto-Greek, but the first fully operative ancient East Greek dialect. We shall demonstrate over and over that Mycenaean Greek was the primordial fully functional East Greek dialect which was to be adopted and adapted by the later East Greek dialects (Ionic and Attic among others). The reconstruction of natural language Mycenaean grammar by means of the methodology of progressive grammar is to be the subject of my fourth article in the prestigious international journal, Archaeology and Science, Vol. 13 (2017). The concept of progressive grammar is actually quite easy to grasp. It merely designates the reconstruction of natural, as opposed to inventorial, Mycenaean Greek grammar from the ground up. By the time I have finished with this project, I shall have reconstructed a huge cross-section of natural Mycenaean grammar, approaching the grammar of later East Greek dialects in its comprehensiveness. Here is the table of attested thematic and athematic infinitives in Mycenaean Greek:
MAJOR DEVELOPMENT! 24 Supersyllabograms in Minoan Linear A just discovered, 8 of them deciphered (versus 36 in Mycenaean Linear B)
MAJOR DEVELOPMENT! 24 Supersyllabograms in Minoan Linear A just discovered, 8 of them deciphered (versus 36 in Mycenaean Linear B): In case you were wondering whether or not the Mycenaeans invented supersyllabograms, think again. It was the Minoan Linear A scribes who invented them, and passed them on to their Mycenaean heirs. I never even suspected there were supersyllabograms in Minoan Linear A until I started trying to decipher at least some Minoan terms in May of 2016. Lo and behold, to my astonishment, there are 24 of them in Linear A, a substantial number, amounting to 66 % of the number of supersyllabograms in Mycenaean Linear B = 36. It is now obvious that if I can decipher any more than the 8 supersyllabograms I have already translated in Minoan Linear A, I may very well be able to decipher more Minoan Linear A words. It remains to be seen. However, I am greatly encouraged by the fact that the apparent meanings of the 8 supersyllabograms I have already deciphered in Minoan Linear A seem to match almost perfectly the actual translations of the Minoan Linear A words to which they apparently correspond. See my decipherments of 8 Minoan Linear A SSYLS (supersyllabograms) following the table of SSYLs in Linear A immediately below. If it had not been for the fact that I successfully deciphered the 36 supersyllabograms in Mycenaean Linear B, I would never have stumbled upon the 24 SSYLs in Minoan Linear A, nor would I have been able to cross-correlate these 8 supersyllabograms, DA KA KI NI PA RA SA TE. These 8 supersyllabograms account for 33 % of all the SSYLs in Minoan Linear A. My decipherments of the 8 SSYLs is quite an achievement, considering I, like everyone else in the world, do not know what the Minoan language actually is. I stress again, I have only managed to decipher some of its vocabulary, not the language itself. This is in stark contrast to the 36 supersyllabograms in Mycenaean Linear B which I have been able to decipher with relative ease, in view of the fact that I am intimately familiar with Mycenaean Linear B, having already translated at least 1,000 Linear B tablets. So the fact that I have been able to decipher even 8 of 24 supersyllabograms in Minoan Linear A is almost a miracle in itself. You can be sure that my decipherments of these 8 Linear A supersyllabograms will figure largely in my upcoming article in Archaeology and Science, Vol. 16 (2016) (Belgrade) ISSN 1452-7448, “Linear B tablet Pylos TA 641-1952 (Ventris), the “Rosetta Stone” for Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery”. You can just imagine how exciting a development this has been for me! Moreover, this development has allowed me to add yet another Minoan Linear A term to my Glossary of Minoan Linear A, samuku, which almost certainly refers to the harvest(ing) of grains (barley or wheat). See SPECIAL NOTES at the end of this post. The Table of 24 Minoan Linear A supersyllabograms From Haghia Triada (HT) & Khania (KH): A HT2 olive oil HT39 vase (v) DA HT133 (g) DI * HT12 olive oil (qatidate) HT14 (oo) HT28 HT50 HT90 HT121 HT129 E * HT2 olive oil HT21 HT34 (g) (+ sumuku huge nos.) HT50 HT58 (oo) KA * HT28 man (m) HT88 HT97 HT100 KE HT26 (vase) KI * HT8 olive oil HT18 HT28 HT44 HT50 HT91 HT101 HT125 HT129 HT140 KU HT32 cloth (c) HT61 (g) HT128 X4! MI * HT28 (oo) HT50 HT90 HT91 HT100 HT101 HT116 X2 b HT125 HT137 NE * HT23 (oo) HT32 HT100 NI appears on several Linear A tablets all by itself, and invariably means figs. It is the only supersyllabogram shared with Mycenaean Linear B, which apparently simply inherited it lock, stock and barrel from Minoan Linear A. QE * HT18 grains (g) HT28 HT36 HT99 HT101 HT121 (oo) PA * HT43 (g) HT93 X3! HT102 X2 HT120 X2 HT125 HT128 KT27 RA HT44 (oo) KH91 (v) RI HT23 (oo) HT35 HT60 HT110 (v) KH82 (oo) RU * KH12 (v) KH63 KH84 KH85 KH91 SA HT27 (g) HT131 SI HT27 TA * HT30 (oo) HT35 KH19 KH39 KH55 KH61 KH85 TE HT3 figs HT9 wine HT13 (kaudeta) HT18 HT19 HT21 HT40 HT44 (g) HT51 (f) HT62 HT67 (f) HT70 (f) HT96 HT133 (g) TU * HT23 (oo) HT28 HT50 HT101 U * HT2 olive oil HT21 HT28 HT40 HT44 HT58 HT91 HT96 HT100 HT101 HT125 HT140 X3 WA HT27 WI KH5 (w = vinegar) * All of the following supersyllabograms in Minoan Linear A deal exclusively with olive oil: DI E KI MI NE TA TU U * All of the following supersyllabograms in Minoan Linear A deal exclusively with grain: DA QE (except for HT121) PA * All of the following supersyllabograms in Minoan Linear A deal exclusively with wine: SA SI WA WI * The supersyllabograms KE & RU in Minoan Linear A deal exclusively with vases and pottery. * The supersyllabogram KA in Minoan Linear A deals exclusively with men. Supersyllabograms I have deciphered in Minoan Linear A: I have already more or less successfully deciphered the following 8 supersyllabograms in Minoan Linear A: DA = dadumata = grain/wheat measurer? = Linear B sitokowo KA = kapa = follower or foot soldier, attendant to the king KI = kidata = to be accepted for delivery = Linear B dekesato OR kireta2 (kiritai) = delivery = Linear B apudosis kiretana = (having been) delivered (past participle passive) = Linear B amoiyeto AND kireza = unit of measurement for figs, probably 1 basket AND kiro = owed = Linear B oporo = they owed NI = nipa3 (nipai) or nira2 (nirai) = figs = Linear B suza. But Mycenaean Linear B shares NI with Minoan Linear A, in spite of the fact that the Mycenaean word for figs is suza. PA = pa3ni (amphora for storing grain) + pa3nina = grain or wheat stored in an amphora RA ra*164ti = approx. 5 litres (of wine) SA sara2 (sarai) = small unit of measurement: dry approx. 1 kg., liquid approx. 1 litre TE = tereza = standard unit of usually liquid measurement, sometimes of dry measurement All of my decipherments of supersyllabograms in Minoan Linear A further substantiate my decipherments of the Minoan Linear A terms to which they correspond (as seen above). Here is Table 8 of the 36 Supersyllabograms I have deciphered in Mycenaean Linear B: The meanings of the supersyllabograms in Mycenaean Linear B do NOT correspond in any way with those in Minoan Linear A. This table appears in my soon to be published article, “The Decipherment of Supersyllabograms in Linear B” in Vol. 15 (2015) of the prestigious international annual, Archaeology and Science (Belgrade) ISSN 1452-7448. SPECIAL NOTES:  The SSYL KI for olive oil has something to do with sara2 (sarai) = small unit of measurement: dry approx. 1 kg., liquid approx. 1 litre OR kireta2 (kiritai) = delivery = Linear B apudosis + kiretana = (having been) delivered (past participle passive) = Linear B amoiyeto OR kireza = unit of measurement for figs, probably 1 basket OR kiro = owed = Linear B oporo = they owed.  Although I have been unable to decipher the supersyllabogram E for olives, it has facilitated my translation of yet another Minoan Linear A word, samuku, which appears in such huge numbers (245 + 100) on Minoan Linear A tablet HT 34, dealing specifically with grains (barley or wheat) that is almost certainly means the “harvest” of a total of 345 large units of grains, corresponding to something like our modern bushels.
Knossos tablet KN 875a M n 01 as a template guide for the decipherment of vessels (pottery) in Minoan Linear A
Knossos tablet KN 875aM n 01 as a template guide for the decipherment of vessels (pottery) in Minoan Linear A: Knossos tablet KN 875a M n 01 serves as a useful template guide for cross-correlative retrogressive extrapolation of vocabulary for vessels (pottery) in Minoan Linear A. Although have already deciphered, more or less accurately, the words for “a cup with handles” in Minoan Linear A, we have not yet been able to extract the term for “a handle-less cup”. So hopefully this tablet should serve as a guide to the eventual discovery of the Minoan Linear A equivalent of Mycenaean Linear B dipa anowe or dipa anowoto, both meaning “a handle-less cup”. The term dipa anowe also appears on the famous Linear B tablet, Pylos TA 641-1952 (Ventris), the first ever large Mycenaean Linear B tablet ever deciphered by none other than Michael Ventris himself. This tablet has recently be re-deciphered by Rita Roberts, an archaeologist from Crete, in my article, An Archaeologist's Translation of Pylos Tablet 641-1952. pp. 133-161 in Archaeology and Science, Vol. 10 (2014) ISSN 1452-7448 (Belgrade), now available on academia.edu here: This is the most comprehensive article (28 pages long) ever written on the decipherment of this key Linear B tablet. You can download it from academia.edu at the link above.
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