01879    a2200385   4500001001100000005001700011008003900028020001800067037003600085040000700121041000800128072001400136072001600150072001400166072001500180072001500195072001700210072001600227072001200243072001400255072001200269072001400281072001500295072001700310072002100327072002100348072002100369072001700390100001500407245006900422250000600491260003200497300001000529520095400539113899178320250317100400.0250312042015GB                   eng    a9781138991781  bTaylor & FranciscGBP 47.99fBB  a01  aeng7 aDB2thema7 aDSBB2thema7 aDC2thema7 aNKD2thema7 aNHC2thema7 a1QBAG2bisac7 a1QBA2bisac7 aDB2bic7 aDSBB2bic7 aDC2bic7 aHDDK2bic7 aHBLA12bic7 a1QDAG2bisac7 aLIT0041902bisac7 aHIS0020002bisac7 aHIS0020102bisac7 a913.32bisac1 aT. Webster10aFrom Mycenae to HomerbA Study in Early Greek Literature and Art  a1  aOxfordbRoutledgec20151126  a376 p  bThis book, first published in 1958, aims to describe Greek art and poetry within this ambiguous period of ancient history (often referred to as the Greek ‘Dark Ages’), and to explore the possibilities of learning about Mycenaean civilisation from its own documents and not only from archaeology. Specifically, Webster utilises Michael Ventris’ decipherment of Linear B in 1952 – which proved that Greek was spoken in the Mycenaean world – to determine the general contours of aesthetic development from Mycenae to the time of the written composition of the Homeric epics. Because they record Mycenaean civilisation in Mycenaean terminology, while Homer was writing in Ionian Greek at the beginning of the polis civilisation, they show how much in Homer is in fact Mycenaean. Further, where it is clear that these Mycenaean elements cannot have survived until Homer’s time, they tell us something about the poetry which connected the two.