DOCSLIB.ORG

(Like S *-At- in *≤Bin-At- 'Daughter' > Hb Tb2 Bat3, Ar Bint-, Etc., B *-T in L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Like S *-At- in *≤Bin-At- 'Daughter' > Hb Tb2 Bat3, Ar Bint-, Etc., B *-T in L 2129 231O. *t''a44, dem. prn. of non-active (inanimate) objects (without distance opposition [proximal ↔ intermediate ↔ distal]) > HS: I. HS *tV-/*-Vt, marker of the so-called "feminine gender", actually feminine-and-inanimate gender (a merger with N *{{{?}atV 'female, woman' [q.v.], as well as probably with N *t''i that constructs nomina act. [q.v.]), used in different grammatical functions: [a] verbal px. *tV- of 3 pers. "feminine" (= feminine-and-inanimate\collective) > S, B *tV- id., EC *t(V)-, Bj, Aw t(V)- of 3f in pcvs., *t- as marker of 3f in many Ch lgs., as well as the 3f marker *-t- within the person-number-gender sxs.; [b] HS nominal ending *-Vt-, marker of both the female sex in nouns (like S *-at- in *≤bin-at- 'daughter' > Hb tB2 bat3, Ar bint-, etc., B *-t in *t-funas-t 'cow', ONum ult 'daughter') and of the fem.-and-inanimate gender (that is used to form singulative, collective, and abstract nouns) in S, Eg, B, C, and Ch, [c] HS pronoun *tV- (prn. of the fem.[-and- inanimate] gender) > OAr ta2 and tï 'this\that' f. (Br. G I 317-8 [§ 1O7g]), Sb t 'that (f.) which' = 'lo que' (t-b-s7rn 'lo que está en el valle' (here the formal f. of t is likely to have an abstract meaning of Sp lo) - w Bst. 42, Bst. DSRP); LbB: Gnc T {Mi.} -to 'this' (mensey-to 'this king'), pB *t-a2 f. sg. / *t-ï f. pl. 'that\those which', 'that\those of' (ddn.) (the elements *-a2/*ï go back to N *ha, deictic pronominal pc. ['ille', distal deixis], and to N *yÉ [= y{{{i}?] 'these, they' [deictic marker of animate pl.]) > ta f. sg. / ti f. pl. 'that\those which, that\those of' in practically all B lgs. (with a phonetic variant t3a/t3i in Kb and several other NrB lgs.) (Pr. M III, AiM 176, 211, 217, Fc. 1448-59), Bj t-, marker of the fem. gender in the df. art.: Bj A {AD} nom. sg. tu2-≠tu-, accus. sg. to2-≠tu2, nom. pl. ta2-≠ta, accus. pl. te2-≠ti-, Bj Hd {Rop.} nom. sg. tu2- ≠ti-, accus. sg. to2-≠ti-, nom. pl. ta2-≠ti-, accus. pl. te2-≠ti, Bj (dialect recorded by Reinisch) nom. sg. tu2-, accus. sg. to2-, nom. pl. ta2-, accus. pl. te2-; B *tV-, prefix of fem. nouns, both sg. and pl. (going back to a n article similar to that of Bj), e.g. Sll, Nf ta-lÌ´mt 'she-camel' (pl. ti- l´Ìmin, ti-l´Ìmatin), Kb t3a-funast3, Tmz ta-funast 'cow', Zwr t-funast, Zmr t3-funast3 id. (pl. t3ifunasin), t3-mÌart3 'old woman', Mz t-m´tœtœut 'woman', etc. (w AiM 2O8-9); Sml -ta, -tu, -tï, fem. forms of df. articles; C marker of fem. *t- in dem., interr. and poss. pronouns: Bj {R} t-u2n 'this' f. (accus. t-o2n), t-a2n 'these' f. (accus. t-e2n), Sa {R} t-a2, t-ay 'this' f., t-o, t-oy 'that' f., Sml -t-ani! (accus. -t-a!n) 'this' f. (sx. of a noun), -t-a2si (accus. -t-a2) 'that' f. (general deixis), etc., Or H {Ow.} t- 2130 ana rect. 'this' f. (↔ m. x-ana), t-uni nom. 'this' f. (↔ m. x-uni), t-a2!ni! 'this' (anaphoric) f. (↔ m. x-a2!ni!), t-a!mi! 'which?' f. (↔ m. x-a!mi!), t-iyya 'my' f. (↔ m. x-iyya), t-e 'thy' f. (↔ m. x-e), etc., Or B tuni~(-ni") 'this' f., rect. t-a!na", gen. ta!na!, etc., Sd t-e, t-enne, t-e2ne, t-in 'this' f., etc. (w AD KJ 28, 46-8, 1O6, 116-7 and s.v. N *K''{{{u44}, dem. prn.), as well as a marker of the fem. gender within postnominal agglutinated markers of personal possesion in Bj (-t-), Sml (-t-: i~≤na!n-t-a~y-d-u 'my daughter', where -t- is the marker of fem. of the suffixed poss. prn. -taydu, -ay- is the morpheme of 1s, and -d- is the marker of fem. of the postpositional article, cp. ≤i!na~n-k-a~y-g-u 'my son', where -k- and -g- are masc. gender markers), Or ∆ -t-, etc. ¶ AD KJ 1O7-8, Ow. 88 The same marker *-t- of the f.-and-inanimate gender is found in the S compound ending *-a2- t- which functions as a marker of feminine "plural" (Hb -o2t3, Ar -a2t-, Gz -a2t, Ak -a2t-). There is syntactic and morphological ev. that proves that in pS the forms with *-a2t- were not real plurals, but collective nouns (in sg.): [a] the *-a2t-forms have case endings of sg. (nom. *-u, accus.-gen. *-a) and a marker of status determinatus of sg. (*-m), [b] if they function as a subject, their predicate (in Arabic) is sg. f. Here the S morpheme *-t- is actually a nominalizer (substantivizer) of an originally analytical construction of collectivity (with collectivity pc. *-a2 < N ?σ *?a{{{h}a [collective pc. of inanimate, '≈ de ça']). This is suggested by the fact that S *-a2-t- is found only in the purely substantive cases (nom., accus., gen.), while in the pred. case (> f. pl. of the WS new perfect) we find S *-a2 without *-t-. The same *-t- is found as a substantivizer of Ak adjectives in pl. (-u2t- in sunstantivized adjectives in pl. ↔ -u2 as pl. of not sunstantivized adjectives) In Ch this HS prn. *tV contaminated with the reflex of N *{{{?}atV 'female, woman', giving rise to a personal prn. of 3f (actually, feminine-and-inanimate) that Blz. reconstructs as *ta. In WCh it functions (1) as a preverbal subject marker of 3f.: Hs ta2 (with past), ta (with some other verbal forms), in the BT lgs. (with neutral form, pf.: Bl, Gera ti~, Krf, Glm, Grm ta~, Tng ta, etc.), in the Ron lgs. (with the main aspect of the verb: Fy, Bks, Klr ti!); (2) as an aut. prn. of 3f (prefix + *ta, acc. to Kr.'s rec.): Hs i-ta, Bl i-ta~, Ngm te^, Krkr dÈ-t‰w, Tng N-ta, Fy, Bks yi!-t, Ngz, Bd a-tu~, Zul ti 'she'; (3) as an object prn. of 3f (*tV, acc. to Kr.): Hs, Bl ta, Krkr, Tng ta~, Ngz atu~, Bd tu~; (4) as a postnominal poss. prn. of 3f (*ta, acc. to Kr.): Hs ta, Bl to, Krf ta&a, Krkr (tÈ)-t‰~w, Tng to~, Pr te~, Ron: Fy -it, Bks -et. In CCh 2131 this pronouns appears: (1) as a ppa. of 3f: Gude -ta~, Bcm -ro~ (-r- < *-t- ), Mln -(g‰)-to~, FlM -tU~, Mbara -ta! 'her'; (2) as an object prn. of 3f.: Bcm (na)-ro~, Gudu ba-r (-r- < *-t-), FlM (ga`)-ta!, Msg G/P {MB} -ti 'her', Mbara -ta!; (3) in some CCh lgs. it is one of the elements within isolable pers. pronouns of 3f (as in Mbara ti!ti! 'she'). In ECh it functions as a subject prn. of 3f (Mkl ti!-/t-, Bdy -ti!, -g-i!t), as a pronominal object sx. of verbs (Mkl -t, -ti~ 'her', Bdy -ta! 'her', -ti~ 'to her', Tmk -d 'her', Mgm - ti!, -ti~ 'to her'), as a ppa. of nouns (Mkl -tu~, Bdy -t, -ti~ 'her'), and as a n emphatic aut. prn. ("pronom d’insistance"): Tmk ta2fln 'she' (↔ d'a2fln 'he'), as a dem. prn. of the f. gender (*t-pronouns of f. ↔ *k-pronouns of m. [ffd. details see N *K''{{{u44}, dem. prn.]). It also functions as a demonstrative element (without connection with the fem. gender, sc. not having merged with N *{{{?}atV '⇑': Ke m. sg. to!N 'this', f. sg. ta!N, pl. te!N 'these' [Sch. ED 158-9]) and as a CCh subject prn. of 3s m.: Msg G {MB} t‰, Msg P {MB} te, Mbara, Mlw ti ¶ Cf. Kr. RChP, MB SMSM, J R, Sch. BTL, Sch. DN, Frz. GP, Blz. PPCh1 ∀, Blz. PPCh2 ∀, Trn. MVM 7 6 , TrnSL 163-6, J LM, JA LM, Al. DB 196-2O6, Cp. 31 | II. A variant *tV' without de-emphatization survives in Ch as *dV' ,a dem. prn. (‘ a marker of definiteness) > {Sch.}: Hs ka!ra~sd'i^n 'the carrot(s)' (↔ ka!ra~s 'carrot, -s'), Su lu! d'i^-s‰~ 'this house' (↔ lu! 'house'), G’nd naf-d'a 'the man', naf-d'i 'this man' (↔ naf- 'man'), Msg d'i!fd'a! 'the man' (↔ d'i!f 'man'), Mkl ?a~?u! d'o!N 'the water' (↔ ?a!?u~ pl. 'water'), as well as a pers. prn. of 3m (Tmk d'a2fln 'he') ¶ Sch. ED 158-6O || IE [1] NaIE *to- (nom.- accus. *to-d), dem. prn. of the neuter (inanimate) gender (↔ *so dem. prn. of the animate gender) > OI ta-d 'it, that' ntr. ↔ sa (≠ sa-s) 'he, that' m., Av G, YAv ta-t∞ 'this, it' ntr. ↔ YAv ha2 m. »» Gk to1, df. art. ntr. ↔ [o, df. art. m. »» pGmc {SGGJ} *Tat 'das' (ddn. prn.), ntr.(↔ *so m.) > Gt †ata ntr. ↔ sa m., ORu †at ntr. ↔ sa m., ON †at ntr. ↔ sa1 m., AS ÎAt ntr. ↔ se2Æ m. In the obl. cases it was generalized for all genders, e.g. NaIE accus. m. *to-m > OI tam, Av t´m, Gk to1n, Gmc *Tan(on) (> Gt †ana, ON †ann, AS Îone), NaIE accus. f. *ta2-m (cf. nom. f. *sa2) > OI, Av ta2m, Gk th1n. The form of the f. (a NaIE innovarion) is *sa2 (based on *so-), but in many lgs. it is *ta2 (e.g.
Load more

Recommended publications
  • THE ARMOURER and HIS CRAFT from the Xith to the Xvith CENTURY by CHARLES FFOULKES, B.Litt.Oxon
    GQ>0<J> 1911 CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Ubrary NK6606 .F43 1912 The armourer and his craft from the xith C Date iSIORAGE 3 1924 030 681 278 Overs olin a^(Mr;= :3fff=iqfPfr.g^h- r^ n .^ I aAri.^ ^ Cornell University Library XI The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030681278 THE ARMOURER AND HIS CRAFT UNIFORM WITH THIS VOLUME PASTE By A. Beresford Ryley < 'A w <1-1 K 2; < > o 2 o 2; H ffi Q 2; < w K o w u > w o o w K H H P W THE ARMOURER AND HIS CRAFT FROM THE XIth TO THE XVIth CENTURY By CHARLES FFOULKES, B.Litt.Oxon. WITH SIXTY-NINE DIAGRAMS IN THE TEXT AND THIRTY-TWO PLATES METHUEN & CO. LTD. 36 ESSEX STREET W.G. LONDON Kc tf , First Published in igi2 TO THE RIGHT HONOURABLE THE VISCOUNT DILLON, Hon. M.A. Oxon. V.P.S.A., Etc. Etc. CURATOR OF THE TOWER ARMOURIES PREFACE DO not propose, in this work, to consider the history or develop- ment of defensive armour, for this has been more or less fully I discussed in v^orks which deal with the subject from the historical side of the question. I have rather endeavoured to compile a work which will, in some measure, fill up a gap in the subject, by collecting all the records and references, especially in English documents, which relate to the actual making of armour and the regulations which con- trolled the Armourer and his Craft.
    [Show full text]
  • Music in Poetry and Poetry in Music: Tumanian's Anush
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Music In Poetry And Poetry In Music: Tumanian's Anush Beata Asmik Navratil Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1068 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH By BEATA NAVRATIL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 ©2015 BEATA NAVRATIL All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts James R. Cowdery Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Zdravko Blažeković Tatjana Markovic Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH by Beata Navratil Advisor: Professor Stephen Blum The poem Anush by the Armenian poet Hovhannes Tumanian (1869–1923) is rooted in traditional Armenian music. Tumanian’s poem reflects a number of manifestations thereof: (1) It borrows in its style from Armenian lyrical songs (such as lalik and khagh), from the parerg style (the traditional dance-song), and from the voghb style (laments such as funeral laments, bayati, and tragic odes).
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist.
    [Show full text]
  • Armenian Folk Songs and Dances in the Fresno and Los Angeles Areas Author(S): Donn Bor Cherdt Source: Western Folklore, Vol
    Armenian Folk Songs and Dances in the Fresno and Los Angeles Areas Author(s): Donn Bor Cherdt Source: Western Folklore, Vol. 18, No. 1 (Jan., 1959), pp. 1-12 Published by: Western States Folklore Society Stable URL: http://www.jstor.org/stable/1496887 . Accessed: 10/09/2013 15:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Western States Folklore Society is collaborating with JSTOR to digitize, preserve and extend access to Western Folklore. http://www.jstor.org This content downloaded from 155.33.16.124 on Tue, 10 Sep 2013 15:53:12 PM All use subject to JSTOR Terms and Conditions ArmenianFolk Songs and Dancesin theFresno and Los AngelesAreas* DONN BORCHERDT OF SEVERAL HUNDRED THOUSAND ARMENIANS in America, about one thirdmake theirhome in California. The main concentrationsare in Fresno, Los Angeles, and San Francisco.1 The distribution of the people varies in each of these cities: Fresno, the center of one of the largest agricultural regions in Cali- fornia, is the most tightlyknit of the three, first,because it has the greatest concentration of Armenians, and second, because the people live closer to each other. While Los Angeles boasts a greater Armenian population, close examination shows a far greater acculturation to western customs and habits.
    [Show full text]
  • Traditional Armenian Instrumental Music That Was Lacking Has Finally Arrived!
    GERARD MADILIAN TRADITIONAL ARMENIAN INSTRUMENTAL MUSIC Jan. 2020 GERARD MADILIAN TRADITIONAL ARMENIAN INSTRUMENTAL MUSIC 1 2 FOREWORD Transmitted from generation to generation, and moving away from its rural origins to perpetuate itself in an urban context, Armenian traditional music has not lost its original strength. History has buried many secrets along the way, but we will try to gather together this heritage through the work of passionate musicologists. This work is neither a manual nor an encyclopedia, but instead presents a synthesis of knowledge acquired over time. It is dedicated to all those who wish to discover or better understand this unusual musical universe. Armenian words transcribed into English (phonetic of Eastern Armenian) will be indicated with a capital first letter and will remain in the singular. The author 3 4 PREFACE The long-awaited book on traditional Armenian instrumental music that was lacking has finally arrived! As my long-time friend Gerard Madilian wrote in his foreword: "History has buried many secrets along the way." It was thus urgent to share the fruits of this research with the general public, and that is why this work was deliberately written in French and translated into English, to make it widely available to as many people as possible. This book is a digest including the essential elements needed to form an opinion in this area. The specialized website www.armentrad.org was in fact selected by the author for this purpose of dissemination. I have shared the same passion with Gerard for many years, having myself practiced the Tar within the Sayat Nova ensemble, which was a traditional Armenian ensemble founded in Paris in 1965.
    [Show full text]
  • The Primitives of the Greek Tongue in Five Languages; Viz
    C^dn JoijL Jcnku^r. /d^r. e^^^ . , T THE PRIMITIVES OF THE GREEK TONGUE, IN FIVE LANGUAGES VIZ : GREEK, LATIN, ENGLISH? ITALIAN AND FRENCH? ^ INVERSE. FOURTH EDITION. MUCH liMPROVED AND CORRECTED WITH THE ADDITION OP AN INDEX OF THE ENGLISH WORDS. Delectando. , pariterque monendo. BY JEAN ALPHONSE ROULLIER, Professor of Languages. AUTHOR OF ASTYANAX, HYPPOMEDONY, &C. ^noon: PRINTED FOR THE AUTHOR, AND PUBLISHED BY MESSRS. LONGMAN, HURST, REES, eRME & BROWN; r. BOOSBY & SONS ; AND vSiMPKIN & MARSHALL. 1825. Printfd at tfir Cambenvell Prets by J. B» G. VOGEL, 1, St. George $ Place. ; TO THE REVEREND J. WERNINCK, D. D. F. R. S. AMST. AND MIDDELB. CHAPLAIN TO H. B. THE AMBASSADOR OF THE NETHERLANDS, AND MINISTER OF THE DUTCH CHURCH IN LONDON. REVEREND SIR, Allow me to offer my sincere thanks to you not only as a man of literature, and the Author of se- veral works in more than one language, who has thought this humble attempt worth your notice, and ac- cepted the dedication of it But also as a man of feeling, and the father of a family, who seeing an old soldier in the republic DEDICATION of letters disabled and forsaken, wishes to refit him a- gain. Permit me to express a sense of my true and sincere acknowledgement for both, and at the same time to evince ray gratitude by the best means in my power. in praying for the continuance of those blessings you enjoy in the bosom of your family. I A% Reverend Sir, Your most obliged and obedient Servant, J.A.ROULLIER, CAMBERWULLt \ith February , 1825.
    [Show full text]
  • Enciclopedia Delle Illustrata Delle Armi Bianche
    Enciclopedia delle illustrata delle armi bianche Abbasi Versione del Rajput della spada lunga indiana con lama rinforzata da nastri di metallo perforato. La Abbasai Talwar è una sciabola del Punjab. Accetta (vedi anche Scure); (Ing. Battle-axe; fr. Hache d'armes; ted. Streitaxt) Piccola scure molto in uso in Europa centro-orientale nel 1500-1600. A e B: Accetta; C e D: Scure d'arme; E: Accetta alla siciliana; F: Steigerhacke; G: Scure del guastatore. L’accetta alla siciliana è molto lavorata ed era arma cerimoniale nel 1600-1700. La Steigerhacke era arma cerimoniale dei minatori tedeschi e svedesi dal 150 al 1700. (Immagine di C. De Vita) 1 Enciclopedia delle illustrata delle armi bianche Achico Tipo di bolas con tre palle. Acinaces (meglio Akinakes) Corta spada persiana (500 a. Cr.) originaria degli Sciti (ricostruzione di fantasia). Aclys Corto giavellotto romano Adarga Arma che pare fosse usata dai nel 1400 dagli arabi; era formata da uno scudo con una lama infissa perpendicolarmente su di esso e dall’impugnatura formata da due 2 Enciclopedia delle illustrata delle armi bianche lance contrapposte. Agny Astra Specie di razzo incendiario lanciato da un tubo di bambù, in uso presso gli antichissimi Hindu. Ahir Corta spada ricurva dei Mahratta (immagine di una riproduzione di fantasia). Ahlspiess Quadrellone munito di ampio disco di arresto alla base del ferro; in uso in ambiente tedesco nel 1400. Aikuchi, Kusungobu La parola aikuchi indica una particolare montatura del coltello giapponese, senza guardia con lama lunga 0,95 piedi (cm. 27,5 circa) e di solito senza nastratura con in vista la pelle di razza e le borchie (menuki).
    [Show full text]
  • Dictionary of Building and Civil Engineering Dictionnaire Du Bâtiment Et Du Génie Civil About the Author
    DICTIONARY OF BUILDING AND CIVIL ENGINEERING DICTIONNAIRE DU BÂTIMENT ET DU GÉNIE CIVIL ABOUT THE AUTHOR Don Montague is a Chartered Engineer (MICE, MIMechE) with experience in many fields of engineering, building and construction. He read Engineering Science at Oxford (MA) and then did pioneering work on machine design using the early DEUCE digital computer in the 1960s. Subsequently he worked in the public service in timber research (AJWSc), became deeply involved in environmental conservation and began a love affair with the practice of building. In 1971 he joined Ove Arup & Partners and spent his first five years with them co-ordinating multi- disciplinary building design teams. After a period running his own structural component firm he rejoined Arups and became responsible for their engineering specifications, design guides and feedback notes. He has published articles on a wide range of topics, from environmental conservation to structural components, and integrated design to maintenance of building services. He retired as Technical Director of Arups in 1991. A life-long interest in the French language and life led him and his wife to move to France, where he is now as busy as ever working for himself with local French building professionals. L’AUTEUR Don Montague est un ingénieur (MICE, MIMechE) dont l’expérience couvre de nombreux domaines du génie, du bâtiment et de la construction. Après avoir fait ses études d’ingénieur à Oxford (MA), il entreprit des travaux innovateurs sur la conception des machines en faisant appel à l’ordinateur numérique DEUCE dans les années 1960. Par la suite, il travailla dans le secteur public dans la recherche sur le bois (AJWSc).
    [Show full text]
  • The Evolution of Armenian Liturgical Music
    Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13 (62) No. 1 – 2020 https://doi.org/10.31926/but.pa.2020.13.62.1.4 The evolution of Armenian liturgical music Agota BODURIAN1 Abstract: The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interesting topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies. Key-words: liturgical music, Armenian, sharakan, khaz, Komitas 1.
    [Show full text]
  • The Halberd and Other Polearms of the Late Medieval Period
    The Halberd and Other Polearms of the Late Medieval Period George A. Snook, MD Starting at sometime in the 13th century and slowly evolving over 200 years was a weapon that in conjunction with the missile types of armaments resulted in the decline of dominance of the armored horseman. This weapon was the halberd, and I believe that this weapon and the other polearms are one of the more neglected subjects in the study of weapons. There have been a few attempts to remedy this situation, but the field is still mostly ignored. In a sense this is a paradox, because some of them are still used as the symbol of protection, as in the case of the Swiss Guards of the Papacy. In books about medieval weapons, they are usually relegated to a short chapter or sometimes simply a captioned photograph (usually incorrectly identified). The field is still waiting for a complete and definitive study. by the facts that the axe was already in use and the sword was Why is this weapon so neglected? There are several too valuable to be used in this manner. reasons. There is an aura about the sword in Europe, where it The primitive axe consisted of a stone head placed in a I is symbolic of the military, of Justice, and of the romance of cleft pole and secured with sinews or rawhide thongs. The chivalry. In Japan, it is practically deified. Swords were used strength was improved by inserting the shaft into a hole in by the wealthy classes, and because of their value, they were the head.
    [Show full text]
  • Catalogue INEDIT
    Une fenêtre sur le monde des musiques traditionnelles A window on the world of traditional music Maison des Cultures du Monde • 101 Bd Raspail 75006 Paris, France +33 (0)1 45 44 72 30 • www.label-inedit.com • [email protected] Une fenêtre sur le monde des musiques traditionnelles A window on the world of traditional music La collection de disques INEDIT s’attache à promouvoir The INEDIT CD series passionately promotes endan - avec passion des traditions musicales menacées ou mé - gered or unknown world musical heritage, along with connues et des artistes soucieux de défendre leur cultu - artists seeking to preserve individual cultures. Field re. Qu’il s’agisse d’enre gistre ments de terrain, de capta - recordings, live concerts, heritage anthologies – tions de concerts ou d’an thologies patrimoniales, whatever the format, each CD has been designed to chaque disque est conçu pour satisfaire l’amateur en satisfy the amateur in search of new musical expe - quête d’émotions nouvelles comme le mélo mane le riences as well as the most demanding connoisseur. plus exigeant. Ce souci de qualité artistique et d’authen - A commitment to artistic quality and authenticity that ticité a valu à la collection plus de 200 récompenses has earned these collections more than 200 awards dont une douzaine de l’Académie Charles Cros. Prolon - to date. As an indispensable continuation of the acti - gement indis pen sable des activités de la Maison des vities of the Maison des Cultures du Monde, this se - Cultures du Monde, INEDIT constitue non seule ment ries constitutes not only a rich source of cultural and une source d’enri chis sement culturel et musical mais musical documentation, but also a general survey of aussi une somme d’archives sonores qui permet d’é - musical archives which become all the more valuable couter de grands artistes disparus.
    [Show full text]
  • {FREE} Flute Ebook, Epub
    FLUTE PDF, EPUB, EBOOK James Galway | 256 pages | 01 Apr 2003 | KAHN & AVERILL | 9781871082135 | English | London, United Kingdom flute | Definition, History, & Types | Britannica Articles from Britannica Encyclopedias for elementary and high school students. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History. Britannica Quiz. A Study of Composers. What composer wrote symphonies and other major works before he was 13 years old? Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles:. Sound is generated by different methods in the aerophones designated as flutes and reeds in the Sachs-Hornbostel system. In flutes, the airstream is directed against a sharp edge; in reeds, the air column in the tube is caused to vibrate between beating…. Flute s were ubiquitous in antiquity. In early depictions, they are sometimes confused with reedpipes. What is thought to be the earliest example of a Western flute was discovered in at Hohle Fels cave near Ulm, Germany. The instrument, made of a vulture bone…. The Renaissance recorder blended well in consort but was weak in its upper register and needed modification to meet the demand for an expressive melodic style. The very nature of the instrument, with its lack of lip control, prevented much dynamic control, but the…. History at your fingertips. In a regional dialect of Gujarati, a flute is also called Pavo.
    [Show full text]