Proposal to Encode 10 Latin Letters for North American
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Greek Letter After Rho
Greek Letter After Rho Cam returf maniacally. Enrique is tressured: she outbragged Romeward and exsiccating her flavones. Noam remains unequalled after Aaron isomerize unarguably or retells any stares. There are some coding methods, and ancient greek i felt that most commercial solutions which direction your are generally in the semitic and This basic form as well as far my class to be quickly determine iab consent if we write. The Greek Alphabet in LaTeX Jason Blevins. The Greek alphabet is widely used in mathematical and scientific equations check after our list including psi nu eta rho mu etc. When you need it is a document will produce resource for help you can you find out that have been adopted for your class. Letter after rho Crossword Puzzle Clue CrosswordGiantcom. New MemberAssociate Member After receiving and accepting a cloth the. Greek and inefficient as serial numbers and computer software interpretation, it was used to a cryptocurrency that most readily identifying symbol variants of christogram. Greek letter for after rho Rho follower Summation symbol Summation symbol in. My bundle has a detention that spot the Greek alphabet at row end, and last with, me implement my family dressed up as Greek gods and goddesses. Greek letter after rho - Find potential answers to this crossword clue at crosswordnexuscom. See the License for grief specific language governing permissions and limitations under the License. This url was really like it? Its characters that is one of jesus christ by scientists to! This lowercase font on providing secure payments are redefined to amazon services llc associates program, can copy it. -
1 Symbols (2286)
1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6 -
FUPA) in the UCS Source: Michael Everson and Klaas Ruppel Version: 2.0 Date: 1998-11-02
Title: Encoding Finno-Ugric Phonetic Alphabet (FUPA) in the UCS Source: Michael Everson and Klaas Ruppel Version: 2.0 Date: 1998-11-02 The Finno-Ugric Phonetic Alphabet (FUPA) 0. Introduction This paper presents a collection of characters, diacritics, and notation marks used in the FUPA scheme. This transcription is and has been used creatively by different scientists in different countries at different times (Lagercrantz probably made the most baroque use of the system); therefore the phonetic or phonematic values of the elements of the FUPA are intentionally left aside here. However, all the users of this scheme have one thing in common: they use the FUPA in a technical way, as described below. We prefer the term ÒFUPAÓ to ÒFUTÓ (Finno- Ugric Transcription) because of its analogy to the IPA (International Phonetic Alphabet). It is not the intention of this paper to encourage exact (or over-exact) phonetic transcription or the extensive use of diacritics. The intention is rather to facilitate the use of the FUPA by the Uralicist community in the context of the Universal Character Set (UCS), by ensuring that a comprehensive analysis of the system leads to the possibility of encoding FUPA texts, past and present, with the UCS. In the exploratory versions of this document, firm advice on how to use FUPA will not be given; when the study is complete, however, advice on which characters in the UCS refer to whch letters used in the FUPA system will be given. An example of this, we believe, will be the advice for the LATIN SMALL LETTER ENG to be used in coded representations of FUPA texts, past and present, for the velar nasal, in preference to the GREEK SMALL LETTER ETA, although a great many printed texts use an eta glyph (Ç) and not an eng glyph (Ë). -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
A Multilingual Lexical Database Application with a Structured Interlingua
SIMuLLDA a Multilingual Lexical Database Application using a Structured Interlingua SIMuLLDA een toepassing van een meertalig lexicaal gegevensbestand met gebruikmaking van een gestructureerde tussentaal (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op het gezag van de Rector Magnificus, Prof. dr. W.H. Gispen, ingevolge het besluit van het College voor Promoties in het openbaar te verdedigen op vrijdag 7 juni 2002 des middags te 4:15 uur door Maarten Janssen geboren op 28 januari 1971 te Nijmegen Promotoren: Prof. dr. H.J. Verkuyl UiL-OTS, Universiteit Utrecht Prof. dr. A. Visser Faculteit Wijsbegeerte, Universiteit Utrecht Contents Preface vii 1 Multilingual Lexical Databases 1 1.1 Multilingual Lexical Databases . 1 1.2 Current Approaches and their Shortcomings . 2 1.2.1 Parallel Wordlists . 2 1.2.2 Hub-and-Spoke Model . 5 1.2.3 WordNet and EuroWordNet . 9 1.2.4 Acquilex et al. 15 1.2.5 Corpus Based Approaches . 19 1.3 Conclusion to Chapter 1 . 21 2 FCA and SIMuLLDA 23 2.1 Formal Concept Analysis . 23 2.1.1 Partial Ordering . 27 2.1.2 Hasse Diagrams . 30 2.2 Connotative Context . 31 2.3 The SIMuLLDA System . 35 2.3.1 Multilinguality . 38 2.3.2 Lexical Gap Filling . 43 2.4 Formal Properties of FCA . 45 2.4.1 FCA and Lattices . 45 2.4.2 Smallest Common Concept . 46 2.4.3 Maximal Filled Sub-Tables . 46 2.4.4 Distributive and Atomic Lattices . 47 2.4.5 Extending Contexts . 48 2.4.6 Models and the Number of Concepts . -
Interações Digitais: Uma Proposta De Ensino De Radiojornalismo Por Meio Das Tic
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES TESE DE DOUTORADO INTERAÇÕES DIGITAIS: UMA PROPOSTA DE ENSINO DE RADIOJORNALISMO POR MEIO DAS TIC MIRNA TONUS CAMPINAS 2007 i ii MIRNA TONUS INTERAÇÕES DIGITAIS: UMA PROPOSTA DE ENSINO DE RADIOJORNALISMO POR MEIO DAS TIC Tese apresentada ao Programa de Pós- Graduação em Multimeios do Instituto de Artes da Universidade Estadual de Campinas para obtenção do título de Doutor em Multimeios. Orientador: Prof. Dr. José Armando Valente CAMPINAS 2007 iii FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Tonus, Mirna. T616i Interações digitais: uma proposta de ensino de radiojornalismo por meio das TIC / Mirna Tonus – Campinas, SP: [s.n.], 2007. Orientador: José Armando Valente. Tese(doutorado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Interação 2. Interatividade. 3. Tecnologias da informação 4. Comunicação e tecnologia 5. Som- registro e reprodução-Técnicas digitais 6. Educação a distância 7. Radiojornalismo - I. Valente, José Armando. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em ingles:“Digital interactions: a teaching radiojournalism proposal mediated by ICT” Palavras-chave em inglês (Keywords): Interaction; Interactivity; Information , Tecnology and communication. Sound-Recording and reproducing-Digital techniques. Distance education. Radiojournalism Titulação: Doutor em Multimeios Banca examinadora: Prof. Dr. José Armando Valente Prof. Dr. Hermes Renato Hildebrand Prof. Dr. Adilson José Ruiz Prof. Dr. Francisco Cock Fontanella Profa. Dra. Marta Regina Maia Prof. Dr. Fernando de Tacca Prof. Dr. Osvando José de Morais Data da Defesa: 16-08-2007 Programa de Pós-Graduação: Multimeios iv v vi Dedico esta tese a meus pais Neusa e Juvenal, pelo apoio, encorajamento, amor e pelos ensinamentos que formaram os alicerces de minha história. -
Second Revised Proposal to Encode Characters for the English
JTC1/SC2/WG2 N4079 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Second Revised Proposal to encode characters for the English Phonotypic Alphabet (EPA) in the UCS Source: German NB Author: Karl Pentzlin Status: National Body Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2011-05-23 Supersedes: WG2 N3981 = L2/11-040, and L2/11-153 Major changes compared with WG2 N3981 = L2/11-040: – Some characters are dropped, as UTC #126 requested unification with existing characters. Accordingly, to close the gaps, most code points are adjusted. – Other feedback received from UCT #126 is considered, either by integrating it or by addressing the raised issues. – The proposed character LATIN CAPITAL LETTER REVERSED SCRUPLE is renamed LATIN CAPITAL LETTER LUNATE EPSILON, to keep it in line with an unifiable character proposed in L2/11-136 and the successor document of L2/11-137. Changes compared with L2/11-153 dated 2011-05-05: – The source is identified again as "Gernan NB", and the status now again is "National Body Contribution". – In the ISO/IEC JTC 1/SC 2/WG 2 form at the end of the document, the answer to question C.2. "Has contact been made to members of the user community?" is answered with "Yes", and some contacts are listed. This is done in response to the concerns of the UTC expressed in WG2 N4059 = L2/11-198. – Otherwise, the text is unchanged. 1. Introduction The English Phonotypic Alphabet is one attempt to give the English language a phonetic spelling and an alphabet which accomplishes this in a way that every sound is represented by a single letter (the words "phonetic" and "sound" translate in today's language roughly as "phone- mic" and "phoneme"). -
Co 2017 Vera Dvoráková ALL RIGHTS RESERVED
c 2017 Vˇera Dvoˇr´akov´a ALL RIGHTS RESERVED GENERIC AND INDEFINITE NULL OBJECTS BY VERAˇ DVORˇ AKOV´ A´ A dissertation submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Linguistics Written under the direction of Mark Baker and approved by Mark Baker (Rutgers University) Ken Safir (Rutgers University) Roger Schwarzschild (MIT) Radek Sim´ıkˇ (Humboldt-Universit¨at zu Berlin) New Brunswick, New Jersey October, 2017 ABSTRACT OF THE DISSERTATION Generic and indefinite null objects by Vˇera Dvoˇr´akov´a Dissertation Director: Mark Baker This thesis is concerned with the syntactic and syntactico-semantic properties of two types of non-overt internal arguments: the so-called generic null objects (GNO), as in Lars von Trier’s movies always shock , and indefinite null objects (INO) as in John reads / is reading . In addition to the known data on GNO and INO, coming mainly from English, Italian, and French, it utilizes data from Czech, a Slavic language with rich inflectional morphology, which enables a novel perspective on how these invisible objects are derived in language. I argue against the predominant view that GNO are syntactically pronouns (Rizzi 1986; Authier 1992a,b), consisting of a D-feature and/or a set of ϕ-features (Landau 2010), and possibly receiving case. Evidence is provided that albeit syntactically represented, GNO consist of a single syntactic node, little n, bearing just the interpretable gender feature, but no number or person features. Rather than pronouns with a fully developed nominal functional projection, GNO should be conceived as conceptually impoverished nouns (i.e. -
The Unicode Standard, Version 3.0, Issued by the Unicode Consor- Tium and Published by Addison-Wesley
The Unicode Standard Version 3.0 The Unicode Consortium ADDISON–WESLEY An Imprint of Addison Wesley Longman, Inc. Reading, Massachusetts · Harlow, England · Menlo Park, California Berkeley, California · Don Mills, Ontario · Sydney Bonn · Amsterdam · Tokyo · Mexico City Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Addison-Wesley was aware of a trademark claim, the designations have been printed in initial capital letters. However, not all words in initial capital letters are trademark designations. The authors and publisher have taken care in preparation of this book, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode®, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. If these files have been purchased on computer-readable media, the sole remedy for any claim will be exchange of defective media within ninety days of receipt. Dai Kan-Wa Jiten used as the source of reference Kanji codes was written by Tetsuji Morohashi and published by Taishukan Shoten. ISBN 0-201-61633-5 Copyright © 1991-2000 by Unicode, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or other- wise, without the prior written permission of the publisher or Unicode, Inc. -
GNU Guix Reference Manual Using the GNU Guix Functional Package Manager
GNU Guix Reference Manual Using the GNU Guix Functional Package Manager The GNU Guix Developers Edition 34cf1f4 29 September 2021 Copyright c 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021 Ludovic Court`es Copyright c 2013, 2014, 2016 Andreas Enge Copyright c 2013 Nikita Karetnikov Copyright c 2014, 2015, 2016 Alex Kost Copyright c 2015, 2016 Mathieu Lirzin Copyright c 2014 Pierre-Antoine Rault Copyright c 2015 Taylan Ulrich Bayırlı/Kammer Copyright c 2015, 2016, 2017, 2019, 2020, 2021 Leo Famulari Copyright c 2015, 2016, 2017, 2018, 2019, 2020 Ricardo Wurmus Copyright c 2016 Ben Woodcroft Copyright c 2016, 2017, 2018, 2021 Chris Marusich Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Efraim Flashner Copyright c 2016 John Darrington Copyright c 2016, 2017 Nikita Gillmann Copyright c 2016, 2017, 2018, 2019, 2020 Jan Nieuwenhuizen Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Julien Lepiller Copyright c 2016 Alex ter Weele Copyright c 2016, 2017, 2018, 2019, 2020, 2021 Christopher Baines Copyright c 2017, 2018, 2019 Cl´ement Lassieur Copyright c 2017, 2018, 2020, 2021 Mathieu Othacehe Copyright c 2017 Federico Beffa Copyright c 2017, 2018 Carlo Zancanaro Copyright c 2017 Thomas Danckaert Copyright c 2017 humanitiesNerd Copyright c 2017, 2021 Christine Lemmer-Webber Copyright c 2017, 2018, 2019, 2020, 2021 Marius Bakke Copyright c 2017, 2019, 2020 Hartmut Goebel Copyright c 2017, 2019, 2020, 2021 Maxim Cournoyer Copyright c 2017, 2018, 2019, 2020, 2021 Tobias Geerinckx-Rice Copyright c 2017 George Clemmer Copyright c 2017 Andy Wingo Copyright c 2017, 2018, 2019, 2020 Arun Isaac Copyright c 2017 nee Copyright c 2018 Rutger Helling Copyright c 2018, 2021 Oleg Pykhalov Copyright c 2018 Mike Gerwitz Copyright c 2018 Pierre-Antoine Rouby Copyright c 2018, 2019 G´abor Boskovits Copyright c 2018, 2019, 2020 Florian Pelz Copyright c 2018 Laura Lazzati Copyright c 2018 Alex Vong Copyright c 2019 Josh Holland Copyright c 2019, 2020 Diego Nicola Barbato Copyright c 2019 Ivan Petkov Copyright c 2019 Jakob L. -
Teaching the Ancients to Type: Better Unicode Text Entry for Ancient Greek
Teaching the Ancients to Type: Better Unicode Text Entry for Ancient Greek Steven Tammen Acknowledgements This project would not have been possible without the support of the University of Georgia’s Center for Under- graduate Research Opportunities (CURO), and the support of my research mentor, Dr. Benjamin M. Wolkow. I would also like to thank all of the Greek faculty and students that completed this project’s research survey. The data from this survey was useful in guiding this project’s progression, and also in motivating its completion. Other people care! Hooray! Finally, I wish to thank my family for all their support and encouragement. I have no doubt talked about key- boards and keyboard layouts enough over the years to drive any group of normal individuals over the edge. But they put up with me nonetheless. Contents 1 About this project 1 1.1 What is this project? ........................................... 1 1.2 Why this project? ............................................ 1 2 Project goals and features 5 2.1 Sane defaults combined with ease of use: the principle of least astonishment ........... 5 2.2 Letter placements that make sense ................................... 5 2.3 Greek letter placements ......................................... 10 2.4 Diacritic and punctuation placements that make sense ........................ 12 2.5 Greek diacritic and punctuation placements .............................. 13 2.6 Intuitive diacritic and backspacing behavior .............................. 16 2.7 Minimal interference with normal computer use ........................... 18 3 Efficient typing practice and Greek language learning 18 3.1 Repetition in typing ........................................... 19 3.2 Repetition in learning .......................................... 20 3.3 Typing, language learning, and frequent words ............................ 20 3.4 Some specific examples ........................................ -
Proposal for an Armenian Script Root Zone LGR 1 General Information
Proposal for an Armenian Script Root Zone LGR Version 3 Date: 2015-06-04 1 General information The purpose of this document is to give an overview of the proposed LGR and the rationale behind the design decisions taken. It includes a discussion of relevant features of the script, the communities or languages using it, the process and methodology used and information on the contributors. The formal specification of the LGR can be found in the accompanying XML document (Proposed-LGR-Armn- 20150604.xml). 1.1 Script for which the LGR is proposed Code: Armn N°: 230 English Name: Armenian Property Value Alias: Armenian Date: 2004-05-01 English name of the script: Hye Native name of the script: հայ The Armenian language is an Indo-European language spoken by the Armenians. It is the official language of the Republic of Armenia and the self-proclaimed Nagorno-Karabakh Republic. It has historically been spoken throughout the Armenian Highlands and today is widely spoken in the Armenian Diaspora. Armenian has its own unique script, the Armenian alphabet, invented in 405 AD by Mesrop Mashtots. Linguists classify Armenian as an independent branch of the Indo-European language family. There are two standardized modern literary forms, Eastern Armenian and Western Armenian, with which most contemporary dialects are mutually intelligible. 1 1.2 Principal languages using that script List Language code and name for each (from ISO 639-3) ISO 639-1 hy ISO 639-2 arm (B) hye (T) ISO 639-3 Variously: hye – Modern Armenian xcl – Classical Armenian axm – Middle Armenian Glottolog arme1241 Linguasphere 57-AAA-a 1.3 Geographic territories or countries with significant user communities for the script Official language in Armenia Nagorno-Karabakh Republic Big Diaspora using the Armenian language in Argentina Brazil Cyprus France Georgia (Samtskhe- Javakheti) Hungary Iraq Lebanon Poland Romania Syria Turkey Ukraine United States 2 Uruguay Total Armenian population in the world is about 10mln.