Reference Card for Makor (Version 2.1; August 2003)

Total Page:16

File Type:pdf, Size:1020Kb

Reference Card for Makor (Version 2.1; August 2003) Reference Card for Makor (Version 2.1; August 2003) To typeset the character on the left, type the sequence on the right. Consonants Star Convention `Doubles' Basic Vowels More Vowels a v '* '^' `E 'ae iB y:a vv aE vei kA kh:e ב *v ב b g c d גּ g* גּ gg bJ g' lC l:+ d h דּ d* דּ dd cG da nM m| e w הּ h* הּ hh dF he p» n|" f z w* ww eD wi q¶ .s|i g ch זּ z* זּ zz fK zu r¸ `|a h .t ch* chch Ig cho t¹ f|e i y טּ .t* טּ .t.t hH .tau vº ts|+ k kh יּ y* יּ yy hH .t+ w· q|' khkh oo כ *kh כ l l Commands n m לּ l* לּ ll w* p n מּ m* מּ mm U O \[ start Heb. typesetting q .s נּ n* נּ nn \] Wnish Hebrew End of Word r ` ¡ .s* ¡ .s.s \/ pattern breaker \noindent suppresses t f ¢ `* ¢ `` Makor automatically se- indentation v ts ¤ f* ¤ ff lects these letterforms at word endings. \HINDENT enforces a w q ¦ ts* ¦ tsts Hebrew indentation j kh x r § q* § qq \HPAR terminates a k Hebrew paragraph ך y sh ¨ r* ¨ rr m m \CENTERLASTLINE centers ° sh^ © sh* © shsh last line of paragraph mm, m* ± ^s, ^sh À sh^* À shsh^ \< unskip command o n z s Á ^s* Á ^shsh \> synonym for nn, n* unskip th th* thth z ª ª \hfontdef{HH}{ezra2}{9pt} deWnes s f ª s* ª ss a Hebrew font for Conventions £ p use Special Dagesh Defective Cholam u ts \hfont{HH} uses the W char^ force nal letter named font W ¥ tsts, ts* bo' \PrintChar{242} identiWes ב» b ב char_ suppress nal ^' forces ` 'u ts' ,bo\/'aum a character by slot בk m`H I כ _' forces J and prints it p ¤ \MakorEnvironment{MKR} selects ª t typesetting environment Cantorial Accents Miscellanea Adjusting Vowel Placement ¡ h[etnahta] h[telishagedola] - £ d¢ d N _.4_rau moves the au vowel 40% of the width of the d¤ h[segol] d h[pazer] - = glyph starting at the left and moving to the right. h[shalshelet] ¥ h[munah] d¦ d --- _3.5pt,-3.5pt_rau displaces the au vowel 3.5 pt to h[zaqefqatan] § h[mahapakh] d¨ d the left of where it should be and 3.3 pt up from where d h[zaqefgadol] d© h[merkha] " " it should be. h[tipeha] h[merhkhakefula] d d ' ' h[revia] h[darga] ^.9^r[shalshelet] puts the upper cantorial accent d d ts' h[zarqa] h[qadma] 'u 90% of the way to the right of the left edge. d d '123th d h[pashta] d h[telishaqetana] z123` ^3pt,1.5pt^r[shalshelet] displaces the upper ac- h[yetiv] h[yerahbenyomo] !?, ?! d d ¼ cent by 3 pt to the left and 1.5 pt up. h[tevir] h[ole] d d ** _1pt,1pt;3pt,3pt_zau[etnahta] to displace the pair h[geresh] h[iluy] d d of vowels and the increase the oVset between them. h[gereshmuqdam] h[dehi] d d h[gershayim] h[zinor] d d d h[qarneypara] d h[masoracircle] Creating Makor Documents You get: gG okE lHכD crG lH inD w mUilJ ceciNm`K pJ ilD NכinD rJ fG mdF ilE rB ²¤I °J lD zUklH nJ nG ivD aJ wH lJ miDUb sqI A`l¹ ihD ¤H °J nD i כD i¤D `G oUxgB lIכJ iב izD `H pJ wD °`E «H lkE `H ªכuxF`º dH Nl. (Continued on overleaf.) (Continued from overleaf.) LaTEX/Lambda Documents Plain TEX/Omega Documents by running the Lambda Wle ltest.tex whose contents are by running the Wle otest.tex whose contents are \documentclass{article}\usepackage{makor2} \input makor2 \begindocument \nopagenumbers \noindent\[laukhaen chakoo-liy n''um-ydwd l'yOm \noindent\[laukhaen chakoo-liy n''um-ydwd l'yOm qoomiy lau`ad kiy mish^'pau.tiy l|e':e.sof gOyim qoomiy lau`ad kiy mish^'pau.tiy l|e':e.sof gOyim l'qauv'tsiy mam'laukhOs lish^'pokh' `:alaeyhem l'qauv'tsiy mam'laukhOs lish^'pokh' `:alaeyhem za`'miy kol ch:arOn 'apiy kiy b''eish^ za`'miy kol ch:arOn 'apiy kiy b''eish^ qin''ausiy t|"'+khael k+l-h+'|+rets. qin''ausiy t|"'+khael k+l-h+'|+rets. \CENTERLASTLINE\]\end{document} \CENTERLASTLINE\] through the commands through the commands omega otest lambda ltest odvips ltest odvips ltest and then printing or displaying the resulting Wle otest.ps. and then printing or displaying the resulting Wle ltest.ps. Makor Fonts £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcDbFaE `G ezra2 Ezra Medium £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcDbFaE `G ezrai2 Ezra Oblique .Ezra Grey fonts not shownI see Makor reference manual mkr2man.pdf./ £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeH NdcD bF aE `G hasida2 Hasida Monowidth £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeH NdcD bF aE `G hasidai2 Hasida Monowidth Italic £ ¢ zyx¡ wG uv strq op mnl jkM ihKgJ IfeHNdcDbFaE`G frankruehl2 Frank Ruehl £ ¢ zyx¡ wG uv strq op mnl jkM ihKgJ IfeHNdcD bFaE`G frankruehli2 Frank Ruehl Italic £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ fI eHNdcDbFaE `G frankruehlb2 Frank Ruehl Bold £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ fI eHNdcDbFaE `G frankruehlbi2 Frank Ruehl Bold Italic £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcD bF aE `G nachlight2 Nachlieli Light £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcD bF aE `G nachlighti2 Nachlieli Light Italic £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcD bF aE `G nachbold2 Nachlieli Bold £ ¢ zyx¡ wG uv strq op mnl jkM ihK gJ IfeHNdcD bF aE `G nachboldi2 Nachlieli Bold Italic ¤ ¥ ¥ % & ! ¦ § ,.- )+* # ' /10 ( " ¨ © $ rashi2 Rashi Script H 2 3 3 ? Q R L E F 4 5 WYX U V M J @ A 8 9 O G S : D Z+[ T B 6 7 N > < K I P ; C = rashii2 Rashi Italic r \ ] ] i { | v op ^ _ w t q j+k b+c y } n d ~ l m ` a x s fg u h z e rashib2 Rashi Bold ¦¨§ ¡ ­ ® ¢ « ¬ ¤ © ¯.° ª £ ¥ rashibi2 Rashi Bold Italic ´ ³ ² zyxwG uv± strq op mnl jkM ihK gJ fI eHNdcDbFaE `G osh2 OmegaSerifHebrew ´ ³ ² zyxwG uv± strq op mnl jkM ihK gJ fI eHNdcDbFaE `G oshi2 OmegaSerifHebrew Italic × wG uv strq op mnl jkM ihK gJ fI eH NdcD bF aE `G david2 David וzÑ yÖ x × wG uv strq op mnl jkM ihK gJ fI eH NdcD bF aE `G davido2 David Oblique וzÑ yÖ x × wG uv strq op mnl jkM ihK gJ IfeH NdcD bF aE `G davidb2 David Bold וzÑ yÖ x × wG uv strq op mnl jkM ihK gJ IfeH NdcD bF aE `G davidbo2 David Bold Oblique וzÑ yÖ x zyx wvtrqpnlk ihgfe dcba` ktavmed2 KtavMedium Cursive zyx wvtrqpnlk ihgfe dcba` ktavbold2 KtavBold Cursive Ê É È Ç Æ Å Ä Ã Â Á À ¿ ¾ ½ ¼ » º ¹ ¸ · ¶ µ oldheb Old Hebrew A36*(! calading2 Dingbat Font Standard Makor Environments MKR .Standard Makor environment/ Lagally .ArabTEX conventions/ MKRbl .Standard environment with bent lamed's/ BHS .Biblia Hebraica Stuttgartensia/ MKRnv .Standard environment with no vowels/ BHSbl .Biblia Hebraica Stuttgartensia with bent lamed's/ MKRalt .Alternative vowel placement on Wnal letters/ BHSnv .Biblia Hebraica Stuttgartensia without vowels/ MKRdeu .German Makor environment/ YID .Yiddish environment/ The main Hebrew font here is ezra2 at 11pt. Author: Alan Hoenig [email protected]/ You can always download the current version from http://www.ctan.org/tex-archive/language/hebrew/makor or search for the Wle mkr2man.pdf, the Makor manual..
Recommended publications
  • The Current State of Masoretic Studies*
    SEFARAD, vol. 73:2, julio-diciembre 2013, págs. 423-458 ISSN: 0037-0894, doi: 10.3989/sefarad.013.015 ESTADO DE LA CUESTIÓN The Current State of Masoretic Studies* Elvira Martín Contreras** ILC-CCHS, CSIC, Madrid The foundation of the International Organization of Masoretic Studies (IOMS) in 1972 was a turning point in the studies on Masorah. Since then, Masoretic studies have undergone a true renaissance. The publications on Masoretic issues have proliferated, and the importance of the Masorah for the study of the text of the Hebrew Bible has been stressed in numerous reviews. This brief survey presents the evolution of Masoretic stu- dies, the main research lines and achievements, and some of the most relevant works in the last forty years. KEYWORDS: Masorah; Ketib-Qere; Grammar; Hebrew Bible Text. ESTADO DE LA CUESTIÓN DE LOS ESTUDIOS MASORÉTICOS.— La creación de la International Organization of Masoretic Studies (IOMS) en 1972 supuso un punto de inflexión en los estudios sobre Masora. Desde entonces, los estudios masoréticos han experimentado un auténtico renacer. Las publicaciones sobre temas masoréticos han proliferado y la impor- tancia de la Masora para el estudio del texto de la Biblia Hebrea ha sido resaltada en nu- merosas reseñas. Esta breve panorámica ofrece la evolución de los estudios masoréticos, sus principales líneas de investigación y logros, así como los trabajos más significativos de los últimos cuarenta años. PALABRAS CLAVE: Masora; ketib-qere; gramática; texto de la Biblia hebrea. Last year marked the 40th anniversary of the creation of the International Organization of Masoretic Studies (IOMS) by Prof. Harry Orlinsky brin- ging together all the modern “Masoretes” and enabling work in this field.
    [Show full text]
  • Two Notes on the Exceptional Shalshelet
    TWO NOTES ON THE EXCEPTIONAL SHALSHELET GILAD J. GEVARYAHU THE FOUR INSTANCES OF SHALSHELET IN THE TORAH The cantillation mark shalshelet appears only four times in the Torah. The root of this word is shin-lamed-shin, meaning three, and, in the Ashkenazic tradition as well as in many Sephardic traditions, the melody ascends and descends three times. It appears three times in the book of Genesis and one time in the book of Leviticus. In the Mesorah it is referred to as Mar’imin u’Mafsikin (Mesorah Gedolah, Lev. 8:23). Mar’imin means thunderous, and Mafsikin means pausing, terms that appear to describe the sound of its melody.1 In this article, we will see how all four shalshelot in the Torah consistently relate to the texts in which they are used. These are the four instances of the shalshelet in the Torah: 1. Genesis 19:16: Shalshelet appears in the story of Lot in Sodom, when the angels tell Lot that he must leave the city, for God is about to destroy it. The word with the shalshelet is the first word in the verse, Still he delayed [vayitmahameha]. So the men [angels] seized his hand . Although not directly mentioning the shalshelet, many commentators note here that Lot hesitated to leave and responded in an unusually slow manner. This approach is found for example in Pseudo-Jonathan, Rashi, Ibn-Ezra, and Radak on this verse. This is based in Genesis Rabbah 50:11, that Lot was concerned about losing all the property he had accumulated and was hesitant to leave Sodom.
    [Show full text]
  • OLUNTEERING at BINGO Is FUN! Help Us Find the Courage to Make Our Lives a Blessing
    :We wish Refuah Sh’lema to בייה jmagnet Bela Davidson Howie Meyer Anice Stark Allan Fryman Joe Levitan Phillip Shadlesky Global Gathering of Holocaust Survivors, Descendants, Rose Rosenbaum Gerald Robinson Abe Swimmer Educators & Friends - Toronto marks the 75th anniversary Rosa Weisberg Ruth Leichner Morton Allen Cohen If you know Beth Radom members who would benefit from Clergy of liberation from the Holocaust at the end of the Second World 18 Reiner Road, Toronto, Ontario M3H 2K9 416-636-3451 War, and host Liberation75 at the Metro Toronto Convention outreach or should be part of our Refuah Sh’lema list, please contact [email protected]. We assure you of confidentiality. Parshat Vayeshev Centre - May 31 through June 2, 2020. To REGISTER or - - - - - - - - - - - - - - - - - - - - - - - - - - - - December 21, 2019 23 Kislev 5780 LEARN MORE about Liberation75, its sponsors and With Reverence, We Honour The Yahrzeits Of: - - - - - - - - - - - - - - - - - - - - - - - - - - - - participating organizations VISIT www.liberation75.org Samuel Zelig Pelchovitz Lillian Pelchovitz Torah: Page 141 Ch 37, V 1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - Irvine Haber Late Father of Betsy Haber-Riesz Maftir: Page 144, Ch 37, V 34 Haftorah: Page 152 CHECK OUT BETH RADOM’S MUSEUM AND GALLERY and Marilyn Feldman - - - - - - - - - - - - - - - - - - - - - - - - - - - - Have you seen our new video display? It’s on our website! Johanna Appel-Prager Late Aunt of Carol Lithwick Today’s Congregational Kiddush will take place in the Does your family have things to add to this museum? We Morton Saxe Late Father of Edward Saxe and Belzberg Weisberg Social Hall on the lower level. appreciate donations of plaques, photos, paperwork, hand written Late Grandfather of Joshua Saxe - - - - - - - - - - - - - - - - - - - - - - - - - - - - letters, booklets, flyers, old landing papers – anything related to Sam Pasternack Late Brother of Patricia Weinstein the once thriving, Jewish, City of Radom.
    [Show full text]
  • Sermon Slam- Cantor Linda Sue Sohn
    Temple Aliyah Shavuot 2016 Sermon Slam Cantor Linda Sue Sohn In Parashat Vayeishev in Genesis chapter 39, Joseph is sold to Potiphar in Egypt. All goes well for Joseph until Potiphar’s wife casts her eye on him and tries to seduce him. ”.He refused“ וַיְמָא ֵ֓ ן ׀The text continues When we hear the unmistakably different sound of the Shalshelet trop, it’s definitely an attention-getter. Dr. Joshua Jacobson, the pre-eminent authority on cantillation with whom I studied at Hebrew College, writes in his book “Chanting the Hebrew Bible - The Art of Cantillation” that Shalshelet means “chain” and seems to describe both its shape - “a chain of three arrowheads piled on top of one another” - as well as the coutour of its melody. When found, it always appears on the first word of a verse. Dr. Jacobson insists that as part of the system of punctuation that trop plays, the Shalshelet trop is merely a place holder for another trop - Segol - which is never found on the first word as it must always be preceded by a Zarka trop. He sees no reason to associate the Shalshelet’s appearance with the dramatic context of the text. In other words, “Nothing here to see, folks - move along - move along!” However, much as I revere and respect Dr. Jacobson’s work, the fact remains that the elaborate musical tradition for chanting Shalshelet gets one’s attention and seem to invite the listener to look at what’s going on in the text. The Talmud and other respected sources give us midrashim that emphasize the repetitive nature of the action taking place.
    [Show full text]
  • The Courage of Identity Crises
    Thoughts on the Weekly Parsha from COVENANT & RABBI LORD JONATHAN SACKS ZT"L Former Chief Rabbi of the CONVERSATION United Hebrew Congregations of the Commonwealth לעילוי נשמת May the learning of these Divrei Torah be HaRav Ya'akov Zvi ben David Arieh zt"l accounts of such moments. What links לעילוי נשמות them is not words but music. From quite פנחס בן יעקב אשר וגולדה בת ישראל דוד אייז ע״ה early on in Jewish history, the Torah was עזריאל בן אריה לייב ומעניה בת יצחק שרטר ע״ה sung, not just read. Moses at the end of Dedicated by Dr. Robert his life calls the Torah a song.1 Different Sreter DDS., M.S. traditions grew up in Israel and Babylon, and from around the tenth century onward the chant began to be systematised in the The Courage form of the musical notations known as ta’amei ha-mikra, cantillation signs, devised of Identity by the Tiberian Masoretes (guardians of Judaism’s sacred texts). One very rare note, Crises known as a shalshelet (chain), appears in the Torah four times only. Each time it is ood leaders know their own limits. a sign of existential crisis. Three instances They do not try to do it all them- are in the book of Genesis. The fourth is Gselves. They build teams. They in our parsha. As we will see, the fourth create space for people who are strong is about leadership. In a broad sense, the where they are weak. They understand other three are as well. the importance of checks and balances The first instance occurs in the story of Lot.
    [Show full text]
  • 1 Teruma 5724. Alef. 1. A. the Wood Was Originally Planted by Yaakov In
    Teruma 5724. Alef. 1. a. The wood was originally planted by Yaakov in Egypt and brought out of Egypt when the people were freed from slavery. b.The wood grew near Mt. Sinai and was harvested when needed. c. The wood was purchased from peoples with whom the Jews traded. 2. The reason why RaShI explains a second time how Yaakov originally planted these trees in Egypt in anticipation of the eventual construction of the Mishkan is because of the “Heh Rather than simply making boards for the Mishkan, the people .”הקרשים“ ,HaYedia” in 26:15 made the boards, which had already been anticipated. It would appear that while other parts of the Mishkan were also constructed from this material, i.e., the Aron (25:10) and the Shulchan (25:23), the main reason for the growing of the wood and probably the purpose for which most of the wood was devoted, was the construction of the boards. 3. In the first commentary, the Peirush HaAroch,1 Ibn Ezra prefers the interpretation that the וכל אשר נמצא אתו עצי “ (trees were growing in the vicinity of Mt. Sinai. The phrase (35:24 refers to those who had harvested some of these locally ”שטים לכל מלאכת העבודה הביאו grown trees in order to construct shelters for themselves, were now being called upon to contribute that wood for the purpose of constructing the Mishkan. In the Peirush HaKatzar, Ibn Ezra, probably based upon the same phrase that he used to construct his first interpretation, now redefines his understanding to be similar to that of the Midrash and RaShI (he does not necessarily accept that this was all part of a plan that Yaakov had shared with his family; only that the Jews brought the wood from Egypt in anticipation of their own lodging needs), i.e., that these were brought from Egypt rather than harvested locally.
    [Show full text]
  • Home to Havdalah Saturday, January 28
    Chai Lights The Newsletter of Congregation Beth Shalom Home to Havdalah Saturday, January 28 Fundraising dinner hosted in the homes of CBS leaders, with dessert and Havdalah together at CBS Board of Directors 2016–2017 President From the Shalshelet and 2017 Jana Uslan Rabbi’s Desk VP Administration The Shalshelet musical Debby Nelson trope is the most rare of all Torah VP Education cantillation. Coveted by many a B’nai Linda Westover Mitzvah student, it appears only four VP Religious Practices times in the entire Torah. The word Sheree Meyer Shalshelet is usually translated as VP Membership “chain” yet the root is Shalosh - Holly Ilfeld three. Perhaps the connection is that VP Finance a chain requires a minimum of three Joel Birch links. The musical sound of the Shalshelet is unforgettable: a thrice repeating VP Programming/Fundraising arpeggio. Lori Nalangan Shalshelet, however goes far beyond how we chant a word in Torah; it VP Operations can be call for our best behavior. In Torah Shalshelet is carefully placed upon Marty Berbach words suggesting a turbulent moment in someone’s life and how the person Financial Secretary responded. In order to merit Shalshelet, things have to be pretty dicey. Ron Simon Shalshelet first appears in the story of Lot escaping from Sodom and Treasurer Gomorrah. The Shalshelet informs us how difficult it was for Lot to turn away Phil Spilberg from his homeland as it was exploding from G-d’s wrath. Despite the trauma, Recording Secretary Lot faced the sorrow, was resolute and kept walking toward a new life. Diane Weber Shalshelet next announces the torn loyalty faced by Eliezer, Abraham’s Immediate Past President servant when he finds the perfect young woman, Rebekkah, to become wife to Tivon Schardl Abraham’s son, Isaac.
    [Show full text]
  • Primo Technical Guide
    Technical Guide May 2016 Ex Libris Confidential 6/7 1 CONFIDENTIAL INFORMATION The information herein is the property of Ex Libris Ltd. or its affiliates and any misuse or abuse will result in economic loss. DO NOT COPY UNLESS YOU HAVE BEEN GIVEN SPECIFIC WRITTEN AUTHORIZATION FROM EX LIBRIS LTD. This document is provided for limited and restricted purposes in accordance with a binding contract with Ex Libris Ltd. or an affiliate. The information herein includes trade secrets and is confidential. DISCLAIMER The information in this document will be subject to periodic change and updating. Please confirm that you have the most current documentation. There are no warranties of any kind, express or implied, provided in this documentation, other than those expressly agreed upon in the applicable Ex Libris contract. This information is provided AS IS. Unless otherwise agreed, Ex Libris shall not be liable for any damages for use of this document, including, without limitation, consequential, punitive, indirect or direct damages. Any references in this document to third‐party material (including third‐party Web sites) are provided for convenience only and do not in any manner serve as an endorsement of that third‐ party material or those Web sites. The third‐party materials are not part of the materials for this Ex Libris product and Ex Libris has no liability for such materials. TRADEMARKS ʺEx Libris,ʺ the Ex Libris bridge , Primo, Aleph, Alephino, Voyager, SFX, MetaLib, Verde, DigiTool, Preservation, Rosetta, URM, ENCompass, Endeavor eZConnect, WebVoyáge, Citation Server, LinkFinder and LinkFinder Plus, and other marks are trademarks or registered trademarks of Ex Libris Ltd.
    [Show full text]
  • Dead Sea Scrolls - the Music of the Bible an Overview on the Work of Suzanne Haik-Vantura(1912 - 2000)
    Dead Sea Scrolls - The Music of the Bible An overview on the work of Suzanne Haik-Vantura(1912 - 2000) Hebrew Bible Cantillation ITU-State Conservatory, Istanbul. Term Project Mehmet Okon¸sar January 27, 2011 i Contents Biblical research 1 BiblicalExegesis ............................ 1 TraditionalJudaicBibleStudies . 2 Musical Archeology 2 ”NewTestament”Times .. .. .. .. .. .. .. .. .. 2 IncantationversusChanting. 3 Dead Sea Scrolls 4 Thediscovery.............................. 6 TheimportanceoftheScrolls . 7 Qumran-EsseneTheory and the departures from it . 8 The texts 9 GroupingtheScrolls .. .. .. .. .. .. .. .. .. .. 10 Excavations............................... 11 The Story of the Discovery 11 TheBedouins.............................. 11 MarSamuel............................... 12 The photographies allows for the reading . 12 Gettingintotherighthands. 13 Historical importance of the Scrolls . 13 Facts About the Dead Sea Scrols . 14 On Jewish Liturgical Music 17 Maqams 18 Cantillation Signs 19 ThePurposeofCantillationSigns . 20 Thesyntacticalfunction . 20 Importanceintheunderstanding . 21 Thephoneticfunction . 22 Themusicalfunction.. .. .. .. .. .. .. .. .. .. 22 Types of Cantillation Marks 22 Babyloniansystem ........................... 22 Palestiniansystem ........................... 23 Tiberiansystem ............................ 24 Differentiation in the poetic books . 25 Notation 25 ii Suzanne Haik-Vantura 26 The Methodology 28 The schools of interpretation of the signs . 28 Appendices 30 NamesandMeaningoftheSigns . 30 Sequences
    [Show full text]
  • (BOP) Standardized Chapel Library Project Book List
    Description of document: Federal Bureau of Prisons (BOP) Standardized Chapel Library Project book list Released date: October 2007 Posted date: 18_october-2007 Title of Document Standardized Library Resources, Standard Library, Standard Library Resources, Standard Library Project Source of document: Federal Bureau of Prisons 320 First St., NW Washington, DC 20534 202-307-3198. BOP's FOIA Service Center (FSC): (202) 616-7750 Notes: This list was designated as the only source for religious books permitted into prison libraries. All materials in federal prison libraries would be reviewed and if it wasn't on the agency-designated approved list, it would be tossed. The Bureau of Prisons has responded to heavy criticism and has pulled back somewhat on this practice. (17-Oct-2007) The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. Standardized Library Resources: Buddhism Print Media: I) Buddhist Religions: A Historical Introduction, by Richard H. Robinson, Willard L. Johnson, Thanissaro Bhikkhu, Wadsworth Publishing, ISBN: 0534558585,2004 (5 th ed.) An introductory book to Buddhism that covers the teachings and practices ofa wide range ofschools and traditions.
    [Show full text]
  • Issues in the Representation of Pointed Hebrew in Unicode
    Issues in the Representation of Pointed Hebrew in Unicode http://www.qaya.org/academic/hebrew/Issues-Hebrew-Unicode.html Issues in the Representation of Pointed Hebrew in Unicode Third draft, Peter Kirk, August 2003 1. Introduction The Hebrew block of the Unicode Standard (http://www.unicode.org/charts/PDF/U0590.pdf) is intended to include all of the characters needed for proper representation of Hebrew texts from all periods of the Hebrew language, including fully pointed and cantillated ancient texts such as that of the Hebrew Bible. It is also intended to cover other languages 1 written in Hebrew script, including Aramaic as used in biblical and other religious texts as well as Yiddish and a few other modern languages. In practice there are a number of issues and minor deficiencies in the Hebrew block as currently defined, in version 4.0 of the Unicode Standard (http://www.unicode.org/versions/Unicode4.0.0/), which affect its usefulness for representation of pointed Hebrew texts and of Hebrew script texts in some other languages. Some of these simply require clarification and agreed guidelines for implementers. Others require further discussion and decision, and possibly additions to the Unicode standard or other action by the Unicode Technical Committee. The conclusion reached in this paper is that two new Unicode characters should be proposed; other issues can be resolved by use of suitable sequences of existing characters, provided that such use is generally agreed by content providers and rendering systems. Several of these issues relate to different typographical conventions for publishing of Hebrew texts.
    [Show full text]
  • The Ultimate Bar Mitzvah Torah Reading Software Tutor
    Kol Kore User’s Guide The Ultimate Bar Mitzvah Torah Reading Software Tutor Kol Koren LTD., 8 King David Street, Bnei Brak 51445, ISRAEL, Tel: +972-3-570-0840 www.kolkoren.com Table of Contents Glossary .............................................................................................. 2 Introduction ........................................................................................ 3 Torah Reading Theory.......................................................................... 5 The Order of Torah Reading ............................................................................... 5 Ta’amei Hamikra (Reading Accents - Trop) .......................................................... 6 Musical .......................................................................................................... 6 Syntactic ........................................................................................................ 6 Grammatical ................................................................................................. 10 Kol Kore Features ............................................................................................ 11 Reading Fluency and Accuracy ....................................................................... 11 Torah Font Selection ..................................................................................... 11 Trop and Vowels Highlighted in Different Colors .............................................. 11 Text Highlighted as Chazan Reads ................................................................
    [Show full text]