A STUDY of WRITING Oi.Uchicago.Edu Oi.Uchicago.Edu /MAAM^MA
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Alif and Hamza Alif) Is One of the Simplest Letters of the Alphabet
’alif and hamza alif) is one of the simplest letters of the alphabet. Its isolated form is simply a vertical’) ﺍ stroke, written from top to bottom. In its final position it is written as the same vertical stroke, but joined at the base to the preceding letter. Because of this connecting line – and this is very important – it is written from bottom to top instead of top to bottom. Practise these to get the feel of the direction of the stroke. The letter 'alif is one of a number of non-connecting letters. This means that it is never connected to the letter that comes after it. Non-connecting letters therefore have no initial or medial forms. They can appear in only two ways: isolated or final, meaning connected to the preceding letter. Reminder about pronunciation The letter 'alif represents the long vowel aa. Usually this vowel sounds like a lengthened version of the a in pat. In some positions, however (we will explain this later), it sounds more like the a in father. One of the most important functions of 'alif is not as an independent sound but as the You can look back at what we said about .(ﺀ) carrier, or a ‘bearer’, of another letter: hamza hamza. Later we will discuss hamza in more detail. Here we will go through one of the most common uses of hamza: its combination with 'alif at the beginning or a word. One of the rules of the Arabic language is that no word can begin with a vowel. Many Arabic words may sound to the beginner as though they start with a vowel, but in fact they begin with a glottal stop: that little catch in the voice that is represented by hamza. -
Innovative Applications of Typography Ancient African Typographic Symbols in Contemporary Publication Design
Typography in Publication Design Innovative applications of Typography Ancient African Typographic Symbols in Contemporary Publication Design Sophia Oduol, Limkokwing University of Creative Technology, Lesotho, [email protected] Key words: typography, iconology, Ancient African symbols, deciphering and transformation 1. Introduction The awareness of the power of typography in communication can be traced back to the earliest civilizations of mankind when production of type was through scratch marks made on flat surfaces using sharp objects. Twentieth century records show well developed type from Mesopotamia, Chinese calligraphy, Egyptian Hieroglyphics and Phoenician alphabet. How do you make any sense of history, art or literature without knowing the stories and typography of your own culture and all the world's main religions? Polly Toynbee (1947). Contemporary typography is significant because it brings attention to civilization within the African continent. African countries have type and symbols that have been used to communicate written messages. Many of these remain undiscovered by the mainstream theorists. Saki Mafundikwa in his book ‘afrikan alphabets’, has made presentations on African letterforms, and he continues to unearth innovative and little understood symbols. This paper aims to explore how the Ancient African iconology has been reborn in to contemporary typography and is used in today’s publishing. The study is placed in the context of the history, meaning, deciphering and transformation of Typography. A conceptual framework is constructed, based on critical theory from arts disciplines, notably from the history of African Iconography from the Igbos and the Adinkra. This paper also finds that typography has now transformed into informal, colloquial icons, where everyday published communiqué can occur through signs rather than speaking. -
UNIT 2 Braille
Mathematics Enhancement Programme Codes and UNIT 2 Braille Lesson Plan 1 Braille Ciphers Activity Notes T: Teacher P: Pupil Ex.B: Exercise Book 1 Introduction T: What code, designed more than 150 years ago, is still used Whole class interactive extensively today? discussion. T: The system of raised dots which enables blind people to read was Ps might also suggest Morse code designed in 1833 by a Frenchman, Louis Braille. or semaphore. Does anyone know how it works? Ps might have some ideas but are T: Braille uses a system of dots, either raised or not, arranged in unlikely to know that Braille uses 3 rows and 2 columns. a 32× configuration. on whiteboard Here are some possible codes: ape (WB). T puts these three Braille letters on WB. T: What do you notice? (They use different numbers of dots) T: We will find out how many possible patterns there are. 10 mins 2 Number of patterns T: How can we find out how many patterns there are? Response will vary according to (Find as many as possible) age and ability. T: OK – but let us be systematic in our search. What could we first find? (All patterns with one dot) T: Good; who would like to display these on the board? P(s) put possible solutions on the board; T stresses the logical search for these. Agreement. Praising. (or use OS 2.1) T: Working in your exercise books (with squared paper), now find all possible patterns with just 2 dots. T: How many have you found? Allow about 5 minutes for this before reviewing. -
Language Contact and Identity in Roman Britain
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-16-2016 12:00 AM Language Contact and Identity in Roman Britain Robert Jackson Woodcock The University of Western Ontario Supervisor Professor Alexander Meyer The University of Western Ontario Graduate Program in Classics A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Robert Jackson Woodcock 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Indo- European Linguistics and Philology Commons Recommended Citation Woodcock, Robert Jackson, "Language Contact and Identity in Roman Britain" (2016). Electronic Thesis and Dissertation Repository. 3775. https://ir.lib.uwo.ca/etd/3775 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Language is one of the most significant aspects of cultural identity. This thesis examines the evidence of languages in contact in Roman Britain in order to determine the role that language played in defining the identities of the inhabitants of this Roman province. All forms of documentary evidence from monumental stone epigraphy to ownership marks scratched onto pottery are analyzed for indications of bilingualism and language contact in Roman Britain. The language and subject matter of the Vindolanda writing tablets from a Roman army fort on the northern frontier are analyzed for indications of bilingual interactions between Roman soldiers and their native surroundings, as well as Celtic interference on the Latin that was written and spoken by the Roman army. -
0. Introduction L2/12-386
Doc Type: Working Group Document Title: Revised Proposal to Encode Additional Old Italic Characters Source: UC Berkeley Script Encoding Initiative (Universal Scripts Project) Author: Christopher C. Little ([email protected]) Status: Liaison Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Replaces: N4046 (L2/11-146R) Date: 2012-11-06 0. Introduction The existing Old Italic character repertoire includes 31 letters and 4 numerals. The Unicode Standard, following the recommendations in the proposal L2/00-140, states that Old Italic is to be used for the encoding of Etruscan, Faliscan, Oscan, Umbrian, North Picene, and South Picene. It also specifically states that Old Italic characters are inappropriate for encoding the languages of ancient Italy north of Etruria (Venetic, Raetic, Lepontic, and Gallic). It is true that the inscriptions of languages north of Etruria exhibit a number of common features, but those features are often exhibited by the other scripts of Italy. Only one of these northern languages, Raetic, requires the addition of any additional characters in order to be fully supported by the Old Italic block. Accordingly, following the addition of this one character, the Unicode Standard should be amended to recommend the encoding of Venetic, Raetic, Lepontic, and Gallic using Old Italic characters. In addition, one additional character is necessary to encode South Picene inscriptions. This proposal is divided into five parts: The first part (§1) identifies the two unencoded characters (Raetic Ɯ and South Picene Ũ) and demonstrates their use in inscriptions. The second part (§2) examines the use of each Old Italic character, as it appears in Etruscan, Faliscan, Oscan, Umbrian, South Picene, Venetic, Raetic, Lepontic, Gallic, and archaic Latin, to demonstrate the unifiability of the northern Italic languages' scripts with Old Italic. -
The Ogham-Runes and El-Mushajjar
c L ite atu e Vo l x a t n t r n o . o R So . u P R e i t ed m he T a s . 1 1 87 " p r f ro y f r r , , r , THE OGHAM - RUNES AND EL - MUSHAJJAR A D STU Y . BY RICH A R D B URTO N F . , e ad J an uar 22 (R y , PART I . The O ham-Run es g . e n u IN tr ating this first portio of my s bj ect, the - I of i Ogham Runes , have made free use the mater als r John collected by Dr . Cha les Graves , Prof. Rhys , and other students, ending it with my own work in the Orkney Islands . i The Ogham character, the fair wr ting of ' Babel - loth ancient Irish literature , is called the , ’ Bethluis Bethlm snion e or , from its initial lett rs, like “ ” Gree co- oe Al hab e t a an d the Ph nician p , the Arabo “ ” Ab ad fl d H ebrew j . It may brie y be describe as f b ormed y straight or curved strokes , of various lengths , disposed either perpendicularly or obliquely to an angle of the substa nce upon which the letters n . were i cised , punched, or rubbed In monuments supposed to be more modern , the letters were traced , b T - N E E - A HE OGHAM RU S AND L M USH JJ A R . n not on the edge , but upon the face of the recipie t f n l o t sur ace ; the latter was origi al y wo d , s aves and tablets ; then stone, rude or worked ; and , lastly, metal , Th . -
Thinking in ⅃TЯ
Nathan P. Gibson • University of Munich (LMU) • usaybia.net Thinking in ⅃TЯ Reorienting the Directional Assumptions of Global Digital Scholarship https://tinyurl.com/gibson190608 Right2Left Workshop #DHSI19RTL Victoria, 8 June 2019 This presentation is licensed under a CC-BY 4.0 International License. Images may be subject to individual licenses (see captions). Outline Forward from Failures The State of Standards A Dizzying Tour of Directionality (Present Meets Future) (Past Meets Present) (The Past) Nathan Gibson, “Thinking in ⅃TЯ,” Right2Left DHSI, 8 June 2019, https://tinyurl.com/gibson190608 A Dizzying Tour of Directionality #sinistrodextrification Nathan Gibson, “Thinking in ⅃TЯ,” Right2Left DHSI, 8 June 2019, https://tinyurl.com/gibson190608 Modern Writing Systems Image: Adapted from https://commons.wikimedia.org/wi ki/File:WritingSystemsOfTheWorld. svg. Creator of the vector version: Pmx. Original work: Maximilian Dörrbecker, CC BY-SA 3.0. Nathan Gibson, “Thinking in ⅃TЯ,” Right2Left DHSI, 8 June 2019, https://tinyurl.com/gibson190608 Selected Languages* with Primarily Right-to-Left Writing Systems by Number of First-Language Speakers #5 Arabic 319 (millions) #10 Lahnda (Western Punjabi, etc.) 119 #20 Urdu 69 #23 Persian 62 * Or macrolanguages. ** May include non-primary speakers Pushto 38** Source: Eberhard, David M., Gary F. Simons, and Charles Sindhi 25 D. Fennig, eds. 2019. “Summary by Language Size” [and Kurdish 22** individual language profile pages]. In Ethnologue: Languages of the World, 22nd ed. Dallas: SIL Uyghur 10** International. Hebrew 5 https://www.ethnologue.com/statistics/size. Rohingya 3** Nathan Gibson, “Thinking in ⅃TЯ,” Right2Left DHSI, 8 June 2019, https://tinyurl.com/gibson190608 > half a billion people almost 10% of the world population Nathan Gibson, “Thinking in ⅃TЯ,” Right2Left DHSI, 8 June 2019, https://tinyurl.com/gibson190608 The State of Standards (Past Meets Present) Plain Text Logical vs. -
Greek-Anatolian Language Contact and the Settlement of Pamphylia
CHRISTINA SKELTON Greek-Anatolian Language Contact and the Settlement of Pamphylia The Ancient Greek dialect of Pamphylia shows extensive influence from the nearby Anatolian languages. Evidence from the linguistics of Greek and Anatolian, sociolinguistics, and the histor- ical and archaeological record suggest that this influence is due to Anatolian speakers learning Greek as a second language as adults in such large numbers that aspects of their L2 Greek became fixed as a part of the main Pamphylian dialect. For this linguistic development to occur and persist, Pamphylia must initially have been settled by a small number of Greeks, and remained isolated from the broader Greek-speaking community while prevailing cultural atti- tudes favored a combined Greek-Anatolian culture. 1. INTRODUCTION 1.1 BACKGROUND The Greek-speaking world of the Archaic and Classical periods (ca. ninth through third centuries BC) was covered by a patchwork of different dialects of Ancient Greek, some of them quite different from the Attic and Ionic familiar to Classicists. Even among these varied dialects, the dialect of Pamphylia, located on the southern coast of Asia Minor, stands out as something unusual. For example, consider the following section from the famous Pamphylian inscription from Sillyon: συ Διϝι̣ α̣ ̣ και hιιαροισι Μανεˉ[ς .]υαν̣ hελε ΣελυW[ι]ιυ̣ ς̣ ̣ [..? hι†ια[ρ]α ϝιλ̣ σιι̣ ọς ̣ υπαρ και ανιιας̣ οσα περ(̣ ι)ι[στα]τυ ̣ Wοικ[. .] The author would like to thank Sally Thomason, Craig Melchert, Leonard Neidorf and the anonymous reviewer for their valuable input, as well as Greg Nagy and everyone at the Center for Hellenic Studies for allowing me to use their library and for their wonderful hospitality during the early stages of pre- paring this manuscript. -
A Translation of the Malia Altar Stone
MATEC Web of Conferences 125, 05018 (2017) DOI: 10.1051/ matecconf/201712505018 CSCC 2017 A Translation of the Malia Altar Stone Peter Z. Revesz1,a 1 Department of Computer Science, University of Nebraska-Lincoln, Lincoln, NE, 68588, USA Abstract. This paper presents a translation of the Malia Altar Stone inscription (CHIC 328), which is one of the longest known Cretan Hieroglyph inscriptions. The translation uses a synoptic transliteration to several scripts that are related to the Malia Altar Stone script. The synoptic transliteration strengthens the derived phonetic values and allows avoiding certain errors that would result from reliance on just a single transliteration. The synoptic transliteration is similar to a multiple alignment of related genomes in bioinformatics in order to derive the genetic sequence of a putative common ancestor of all the aligned genomes. 1 Introduction symbols. These attempts so far were not successful in deciphering the later two scripts. Cretan Hieroglyph is a writing system that existed in Using ideas and methods from bioinformatics, eastern Crete c. 2100 – 1700 BC [13, 14, 25]. The full Revesz [20] analyzed the evolutionary relationships decipherment of Cretan Hieroglyphs requires a consistent within the Cretan script family, which includes the translation of all known Cretan Hieroglyph texts not just following scripts: Cretan Hieroglyph, Linear A, Linear B the translation of some examples. In particular, many [6], Cypriot, Greek, Phoenician, South Arabic, Old authors have suggested translations for the Phaistos Disk, Hungarian [9, 10], which is also called rovásírás in the most famous and longest Cretan Hieroglyph Hungarian and also written sometimes as Rovas in inscription, but in general they were unable to show that English language publications, and Tifinagh. -
Assessment of Options for Handling Full Unicode Character Encodings in MARC21 a Study for the Library of Congress
1 Assessment of Options for Handling Full Unicode Character Encodings in MARC21 A Study for the Library of Congress Part 1: New Scripts Jack Cain Senior Consultant Trylus Computing, Toronto 1 Purpose This assessment intends to study the issues and make recommendations on the possible expansion of the character set repertoire for bibliographic records in MARC21 format. 1.1 “Encoding Scheme” vs. “Repertoire” An encoding scheme contains codes by which characters are represented in computer memory. These codes are organized according to a certain methodology called an encoding scheme. The list of all characters so encoded is referred to as the “repertoire” of characters in the given encoding schemes. For example, ASCII is one encoding scheme, perhaps the one best known to the average non-technical person in North America. “A”, “B”, & “C” are three characters in the repertoire of this encoding scheme. These three characters are assigned encodings 41, 42 & 43 in ASCII (expressed here in hexadecimal). 1.2 MARC8 "MARC8" is the term commonly used to refer both to the encoding scheme and its repertoire as used in MARC records up to 1998. The ‘8’ refers to the fact that, unlike Unicode which is a multi-byte per character code set, the MARC8 encoding scheme is principally made up of multiple one byte tables in which each character is encoded using a single 8 bit byte. (It also includes the EACC set which actually uses fixed length 3 bytes per character.) (For details on MARC8 and its specifications see: http://www.loc.gov/marc/.) MARC8 was introduced around 1968 and was initially limited to essentially Latin script only. -
MATE MASIE (Mah-Teh’ Mah-See’-Eh)
MATE MASIE (mah-teh’ mah-see’-eh) The Ancestorhood of Nana Yao (Dr. Bobby E. Wright) ODWIRAFO KWESI RA NEHEM PTAH AKHAN Short Glossary of terms: Afuraka/Afuraitkait (Ah’-foo-rah-kah’/Ah’-foo-rah-ette’-kah-ette’): Ra (Rah) and Rait (Rah-ette’) are the Creator and Creatress of the world. Together They function as One Divine Unit---The Great Spirit of the Supreme Being. When moving through matter (Afu), during the process of Creation, They take on the titles: Afu Ra and Afu Rait. In the language of ancient Keneset and Kamit (ancient Nubia and Egypt), Afuraka/Afuraitkait is the male/female name of the first landmass or continent of Earth. These male and female names literally mean the Ka (land, hill) of Afu Ra (the Creator) and the Kait (land, hill) of Afu Rait (the Creatress). These titles are over 40,000 years old. Afuraka is the original pronunciation of the english corruption “Africa”. Afurakani (African--male) Afuraitkaitnit (African--female) Afurakanu (Africans--male) Afuraitkaitnut (Africans--female) Trustory [troo’-stoh-ree(true-story; trust-ory/trust-worthy story)]: A true and accurate account of past events. Trustorical; trustorically. For more details please see our book: AFURAKA/AFURAITKAIT – The Origin of the term ‘Africa’ www.odwirafo.com/nhoma.html Copyright © by Odwirafo Kwesi Ra Nehem Ptah Akhan, 13,004 (2004), 13015 (13014). 1 Preface The Akan (ah-kahn’) people live primarily in the West Afurakani/Afuraitkaitnit (African) countries of Ghana and Ivory Coast. As one of the largest biological-cultural (ethnic) groups existing in the region for centuries, the Akan population suffered great losses as many Akanfo (Akan people) were taken from their homelands during the Mmusuo Kese (‘Great Misfortune’---the Enslavement era). -
The Carian Language HANDBOOK of ORIENTAL STUDIES SECTION ONE the NEAR and MIDDLE EAST
The Carian Language HANDBOOK OF ORIENTAL STUDIES SECTION ONE THE NEAR AND MIDDLE EAST Ancient Near East Editor-in-Chief W. H. van Soldt Editors G. Beckman • C. Leitz • B. A. Levine P. Michalowski • P. Miglus Middle East R. S. O’Fahey • C. H. M. Versteegh VOLUME EIGHTY-SIX The Carian Language by Ignacio J. Adiego with an appendix by Koray Konuk BRILL LEIDEN • BOSTON 2007 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Adiego Lajara, Ignacio-Javier. The Carian language / by Ignacio J. Adiego ; with an appendix by Koray Konuk. p. cm. — (Handbook of Oriental studies. Section 1, The Near and Middle East ; v. 86). Includes bibliographical references. ISBN-13 : 978-90-04-15281-6 (hardback) ISBN-10 : 90-04-15281-4 (hardback) 1. Carian language. 2. Carian language—Writing. 3. Inscriptions, Carian—Egypt. 4. Inscriptions, Carian—Turkey—Caria. I. Title. II. P946.A35 2006 491’.998—dc22 2006051655 ISSN 0169-9423 ISBN-10 90 04 15281 4 ISBN-13 978 90 04 15281 6 © Copyright 2007 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill Hotei Publishers, IDC Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.