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Presentación De Powerpoint ICONICIDAD EN LOS SISTEMAS DE ESCRTITURA Juan Carlos Moreno Cabrera UNIVERSIDAD AUTÓNOMA DE MADRID • Transparent letter-icons: these graphic icons are immediately recognizable, as in O for conveying roundedness. • Translucent letter-icons: they seem conventional at first sight, but reveal their iconic bases when a similarity relation between meaning and form has been pointed out. • Subliminal letter-icons (Nänny 1999: 176) constitute the third type. These icons are hardly perceivable to the reader and are in general unintended or even unsuspected by the author. Nänny, M. 1999, “Alphabetic Letters as Icons in Literary Texts”, Nänny, M. and O. Fischer (eds.) Form miming meaning. Iconicity in language and literature. Amsterdam: John Benjamins, 173-198 Transparent letter-icons Translucent letter-icons La escritura protosinaítica se considera el primer alfabeto consonántico documentado, extendiéndose su uso desde el siglo XVIII hasta el siglo XVI a. C. Sus primeros testimonios fueron hallados por William Matthew Flinders Petrie en el invierno de 1904-1905, en la península del Sinaí. Sus caracteres gráficos son de claro origen egipcio. Dado que hacia el siglo XVIII a. C. la península estaba bajo dominio egipcio pero sus pobladores eran semitas, esta escritura parece originarse cuando los pobladores de la península del Sinaí toman algunos signos jeroglíficos egipcios y los adaptan para escribrir en su propia lengua. http://www.ancientscripts.com/protosinaitic.html No obstante, los testimonios de esta escritura son escasos y además se han localizado en un área geográfica muy limitada (Serabit al-Jadim). Esta circunstancia, unida al hecho de la pequeña cantidad de signos que la componen, lleva a que existan pocas certezas sobre la naturaleza exacta del protosinaítico, aunque no parece haber dudas sobre su carácter de escritura. Se suele considerar que de la escritura protosinaítica deriva, total o parcialmente, el alfabeto fenicio y, por lo tanto, el resto de alfabetos. Subliminal letter-icons R. Magritte, La trahison des images, 1928/1929 Óleo sobre lienzo, Los Angeles, County Museum M. Foucalt Ceci n’est pas un pipe, Fata Morgana, 1973 APOLLINAIRE, CALIGRAMAS Douglas Hofstadter, Gödel, Escher, Bach. An eterna Golden Braid. A metaphoric fugue on minds and machines in the spirit of Lewis Carroll. Nueva York, Pneguin Books 1979 p. 703 ASPECTOS ICÓNICOS DE LA ESCRITURA CHINA • 安ān ‘stable, comfortable, safe’, in a silent house, with her hands folded on her bosom a woman kneels calmly” (Li 1993: 1) • 白 bái ‘bright’, clear’ , a burning candle” (Li 1993: 3) • 比 bĭ ‘to juxtpose’ , two persons stand one in front of the other (Li 1993: 11) • 大 dà ‘big’, a man standing straight with his arms extended outward” (Li 1993: 51) • 典 diăn ‘rule, law’, two hands holding a book (Li 1993: 62) • 高 gāo ‘high’, tall’. It is a high building with the upper part a the pointed roof, the middle part as a wall and tower and the lower part as a gate in the foundation (Li 1993: 99) REPETICIÓN • 炎yán ‘inflammation’ (cf. 火huŏ ‘fire’), • 森sēn ‘forest’ (cf. 木mù ‘wood’): a forest (森) contains more trees (木) than do woods (林lín); • 叕 zhuó ‘join together’ (cf. 又yòu ‘also’), • 三 sān ‘three’. • 多 duō ‘many, much’, • 分 fēn ‘to split or divide’ (representing a knife cutting a thing in two halves) • 晶 jīng ‘brilliant, glittering’ (three stars) • 丽 lì ‘beautiful’ (originally, a deer with a pair of good-looking antlers) • 品pĭn ‘article, product’ ( originally, ‘many’, three containers), 區 qū ‘area, district’ (three small containers on a shelf) • 丝 sī ‘silk’ (two sheaves of fine silk) • 羽 yŭ ‘feather’ (two feathers) • 众 zhòng ‘many, numerous’ (three people indicating a multitude). • 瑪 mă ‘agate’: 玉 yù ‘gem’ +馬 • 碼mă ‘weights’: 石 shí ‘stone’+馬 • 螞 mà ‘grasshopper’: 虫 chóng ‘insect’+ 馬 • 罵 mà ‘scold’: 口 kŏu ‘mouth’ (written twice) +馬 ONOMATOPEYAS 咪咪 mīmī ‘meow’ 哞哞 mōumōu ‘moo’ 吧吧 bābā ‘smacking one’s lips’ 叮咚 dīngdōng ‘the sound of tingling’ 咕哝 gūnōng ‘the sound of murmuring’ 呼呼 hūhu ‘the sound of breathing’ 嚓嚓 cācā ‘the sound of rubbing’ JAPONÉS • 協力 kyōryoku ‘cooperate’ • 結晶 kesshō ‘crystal, sparkle’ • 森林 shinrin ‘forest’, • 炎 honō ‘flames’ • 羽毛 umō ‘feathers’. ASPECTOS ICÓNICOS DE LA ESCRITURA JAPONESA 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) を o, object particle (hiragana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) を o, object particle (hiragana) ユニーク yuniiku ‘unique’ (an English loan) (katakana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) を o, object particle (hiragana) ユニーク yuniiku ‘unique’ (an English loan) (katakana) だ, da ‘to be’, と to, subordinating particle (hiragana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) を o, object particle (hiragana) ユニーク yuniiku ‘unique’ (an English loan) (katakana) だ, da ‘to be’, と to, subordinating particle (hiragana) 思 omo ‘think’ (kanji), って tte , verbal particle (hiragana) 日本人 は 自分 の国 の文化 を ユニーク だと思っています Nihonjin wa jibun no kuni no bunka o yuniku da to omotte imasu ‘The Japanese think that their country’s culture is unique’ 日本人 nihonjin ‘Japanese person’: 日本 nihon ‘Japanese’ (kanji) 人 jin ‘person’(kanji). は wa , topic marker (hiragana) 自分 jibun ‘self’ (kanji) の no, relational particle (hiragana) 国 kuni ‘country’ (kanji) 文化 bunka ‘culture’ (kanji) を o, object particle (hiragana) ユニーク yuniiku ‘unique’ (an English loan) (katakana) だ, da ‘to be’, と to, subordinating particle (hiragana) 思 omo ‘think’ (kanji), って tte , verbal particle (hiragana) います imasu ‘to be’ (hiragana) Godzilla ゴリラ ‘GORIRA’ + 鯨 ‘KUJIRA’ ゴジラ ‘GOJIRA’ ASPECTOS ICÓNICOS DE LA ESCRITURA COREANA The Korean alphabet was invented in 1444 and promulgated it in 1446 during the reign of King Sejong (r.1418-1450), the fourth king of the Joseon Dynasty. The modern name for the alphabet, Hangeul, was coined by a Korean linguist called Ju Si-gyeong (1876-1914). In North Korea the alphabet is known as 조선글 (josoen guel). Letter Phoneme EXPLANATION • ㄱ /k/ Root of the tongue closing the epiglottis • ㄴ /n/ The tongue touching the hard palate • ㅁ /m/ Mouth • ㅅ /s/ Teeth ㅇ Throat [originally a laryngeal consonant] • ㄴ /n/ < ㄷ /t/ < ㅌ /th/ • ㅁ /m/ < ㅂ/p/ < ㅍ/ph/ • ㅅ /s/ < ㅈ/ch/ < ㅊ /chh/ • ㅇ /ɦ / < ㆆ/ʔ/ < ᄒ/h/ 한글 한 = han (ᄒ+ᅡ+ㄴ); 글 = kûl (ㄱ + ᅳ + ᆯ) 加泰罗尼亚 Kha thal lu nya Jia tài luó ní yà 바르셀로나 巴塞罗那 Pa ru sel lo na Ba sè luó nà カタルーニャ バルセロナ Ka ta ruu nya Ba ru se ro na.
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