CJK Symbols and Punctuation Range: 3000–303F
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Punjabi Language Characteristics and Role of Thesaurus in Natural
Dharam Veer Sharma et al, / (IJCSIT) International Journal of Computer Science and Information Technologies, Vol. 2 (4) , 2011, 1434-1437 Punjabi Language Characteristics and Role of Thesaurus in Natural Language processing Dharam Veer Sharma1 Aarti2 Department of Computer Science, Punjabi University, Patiala, INDIA Abstract---This paper describes an attempt to explain various 2.2 Characteristics of the Punjabi Language characteristics of Punjabi language. The origin and symbols of Modern Punjabi is a very tonal language, making use of Punjabi language are presents in this paper. Various relations various tones to differentiate words that would otherwise be exist in thesaurus and role of thesaurus in natural language identical. Three primary tones can be identified: high-rising- processing also has been elaborated in this paper. falling, mid-rising-falling, and low rising. Following are characteristics of Punjabi language [3] [4]. Keywords---Thesaurus, Punjabi, characteristics, relations 2.2.1 Morphological characteristics Morphologically, Punjabi is an agglutinative language. That 1. INTRODUCTION is to say, grammatical information is encoded by way of A thesaurus links semantically related words and helps in the affixation (largely suffixation), rather than via independent selection of most appropriate words for given contexts [1]. A freestanding morphemes. Punjabi nouns inflect for number thesaurus contains synonyms (words which have basically the (singular, plural), gender (masculine, feminine), and same meaning) and as such is an important tool for many declension class (absolute, oblique). The absolute form of a applications in NLP too. The purpose is twofold: For writers, noun is its default or uninflected form. This form is used as it is a tool - one with words grouped and classified to help the object of the verb, typically when inanimate, as well as in select the best word to convey a specific nuance of meaning, measure or temporal (point of time) constructions. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Package Mathfont V. 1.6 User Guide Conrad Kosowsky December 2019 [email protected]
Package mathfont v. 1.6 User Guide Conrad Kosowsky December 2019 [email protected] For easy, off-the-shelf use, type the following in your docu- ment preamble and compile using X LE ATEX or LuaLATEX: \usepackage[hfont namei]{mathfont} Abstract The mathfont package provides a flexible interface for changing the font of math- mode characters. The package allows the user to specify a default unicode font for each of six basic classes of Latin and Greek characters, and it provides additional support for unicode math and alphanumeric symbols, including punctuation. Crucially, mathfont is compatible with both X LE ATEX and LuaLATEX, and it provides several font-loading commands that allow the user to change fonts locally or for individual characters within math mode. Handling fonts in TEX and LATEX is a notoriously difficult task. Donald Knuth origi- nally designed TEX to support fonts created with Metafont, and while subsequent versions of TEX extended this functionality to postscript fonts, Plain TEX's font-loading capabilities remain limited. Many, if not most, LATEX users are unfamiliar with the fd files that must be used in font declaration, and the minutiae of TEX's \font primitive can be esoteric and confusing. LATEX 2"'s New Font Selection System (nfss) implemented a straightforward syn- tax for loading and managing fonts, but LATEX macros overlaying a TEX core face the same versatility issues as Plain TEX itself. Fonts in math mode present a double challenge: after loading a font either in Plain TEX or through the nfss, defining math symbols can be unin- tuitive for users who are unfamiliar with TEX's \mathcode primitive. -
Supplementary Guide to UEB Reference Materials V.8.31.16
Supplementary Guide to UEB Reference Materials v.8.31.16 Unless otherwise indicated, page numbers refer to The Rules of Unified English Braille, 2013 For referenced BANA Guidances visit: www.brailleauthority.org * indicates definition of entry word A @ sign, 25 Caret, 24, 42 Abbreviations, 106, 152 Cent Sign ¢, 26 Accented letters, 42, 190 Chemistry, 89, 178, see BANA Guidance capitals, 80 Code switching, 199-210 in fully capped words, 89 how to use, 202-203 Acronyms, 106, 152 indicators Addition foreign language, 191-192, 195 non-technical materials, 31 IPA, 199, 207-208 technical materials, 169 music, 199, 208-209 Alphabetic wordsign, *7, 9, 15, 103-106, Nemeth code, 199, 209-210 164 non-UEB, 199, 203-208 Ampersand &, 21 Coinage, 26, 64 Anglicized words, 45, 158, 186, 189 Colored type, 11, 97 Apostrophe, 18, 69, 105, 107 Comma, 69 Arrows, 21, 174 numeric mode, 59 line mode, 219 Comparison, signs of, 169,31 Asterisk, 21 Compound words, bridging, 146 At sign @, 25 Computer material contractions in, 155 B email addresses, 155 Blank to be filled in, 73, 160 grade 1 indicators, 52 Boldface indicators, 91 Computer notation, 178 Brackets, opening and closing, 69, 78 Contracted (grade 2) braille, *7, 14 Braille grouping indicators, 23, 45, 172 usage cross-referenced, 14 Braille order, list of symbols, 275 Contractions summary, 9 Bullet, 24, 34, 37 Contractions, *7, 9, 103-168 abbreviations, 152 C acronyms, 152 Capitalization, 79-90 alphabetic wordsigns, *7, 9, 15, 103-106, grade 1, 55 164 indicators bridging, 146-152 choice of, 87 aspirated -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Studia Theodisca
Essential (typographic) rules for Studia austriaca and Studia theodisca (irrespective of the language used in the essay) • Send plain text emails, please! DOCs and images only as attachments, thank you! • No PDFs, please! Only MS Word compatible DOCs. • All essays should be accompanied by a short abstract in English (about 500-600 char- acters, including spaces). • Avoid using ‘black’ as your font colour; use ‘automatic’ instead. • Do not insert backgrounds (coloured or otherwise) in your text. • Words should NOT be hyphenated. • Except in special cases authorized by the editor, titles and quotations should be given in the original language, normally without translations. • Work titles should be italicized. • Block quotation paragraphs should always be indented both on the left and on the right, so as to make their format clearly different from that of normal paragraphs. The quota- tions in these paragraphs should NOT be opened and closed by quotation marks intro- duced by the author of the essay. • When quoting lines of poetry, insert a manual line break (“Shift+Enter”) after each line instead of using “Enter”, which should be inserted only after the last line of poetry. • Manual page breaks, column breaks and section breaks should never be used. They will be automatically removed in the formatting process. To display text in two or more columns insert it in a table. • The use of different types of quotation marks should follow these rules: single quotation marks (‘…’ or '...') to emphasize specific words or expressions; double quotation marks (“…” or "...") to enclose quotations. In the final formatting process, double quotation marks will become angle quotation marks («...»); single quotation marks will become double quotation marks (“…”). -
Vol. 123 Style Sheet
THE YALE LAW JOURNAL VOLUME 123 STYLE SHEET The Yale Law Journal follows The Bluebook: A Uniform System of Citation (19th ed. 2010) for citation form and the Chicago Manual of Style (16th ed. 2010) for stylistic matters not addressed by The Bluebook. For the rare situations in which neither of these works covers a particular stylistic matter, we refer to the Government Printing Office (GPO) Style Manual (30th ed. 2008). The Journal’s official reference dictionary is Merriam-Webster’s Collegiate Dictionary, Eleventh Edition. The text of the dictionary is available at www.m-w.com. This Style Sheet codifies Journal-specific guidelines that take precedence over these sources. Rules 1-21 clarify and supplement the citation rules set out in The Bluebook. Rule 22 focuses on recurring matters of style. Rule 1 SR 1.1 String Citations in Textual Sentences 1.1.1 (a)—When parts of a string citation are grammatically integrated into a textual sentence in a footnote (as opposed to being citation clauses or citation sentences grammatically separate from the textual sentence): ● Use semicolons to separate the citations from one another; ● Use an “and” to separate the penultimate and last citations, even where there are only two citations; ● Use textual explanations instead of parenthetical explanations; and ● Do not italicize the signals or the “and.” For example: For further discussion of this issue, see, for example, State v. Gounagias, 153 P. 9, 15 (Wash. 1915), which describes provocation; State v. Stonehouse, 555 P. 772, 779 (Wash. 1907), which lists excuses; and WENDY BROWN & JOHN BLACK, STATES OF INJURY: POWER AND FREEDOM 34 (1995), which examines harm. -
Automatic Labeling of Voiced Consonants for Morphological Analysis of Modern Japanese Literature
Automatic Labeling of Voiced Consonants for Morphological Analysis of Modern Japanese Literature Teruaki Oka† Mamoru Komachi† [email protected] [email protected] Toshinobu Ogiso‡ Yuji Matsumoto† [email protected] [email protected] Nara Institute of Science and Technology National† Institute for Japanese Language and Linguistics ‡ Abstract literary text,2 which achieves high performance on analysis for existing electronic text (e.g. Aozora- Since the present-day Japanese use of bunko, an online digital library of freely available voiced consonant mark had established books and work mainly from out-of-copyright ma- in the Meiji Era, modern Japanese lit- terials). erary text written in the Meiji Era of- However, the performance of morphological an- ten lacks compulsory voiced consonant alyzers using the dictionary deteriorates if the text marks. This deteriorates the performance is not normalized, because these dictionaries often of morphological analyzers using ordi- lack orthographic variations such as Okuri-gana,3 nary dictionary. In this paper, we pro- accompanying characters following Kanji stems pose an approach for automatic labeling of in Japanese written words. This is problematic voiced consonant marks for modern liter- because not all historical texts are manually cor- ary Japanese. We formulate the task into a rected with orthography, and it is time-consuming binary classification problem. Our point- to annotate by hand. It is one of the major issues wise prediction method uses as its feature in applying NLP tools to Japanese Linguistics be- set only surface information about the sur- cause ancient materials often contain a wide vari- rounding character strings. -
Invisible-Punctuation.Pdf
... ' I •e •e •4 I •e •e •4 •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • ••••• • • •• • • • • • I •e •e •4 In/visible Punctuation • • • • •• • • • •• • • • •• • • • • • •• • • • • • •• • • • • • • •• • • • • • •• • • • • • ' •• • • • • • John Lennard •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I ••• • • 4 I.e• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 • • •' .•. • . • .•. •. • ' .. ' • • •' .•. • . • .•. • . • ' . ' . UNIVERSITY OF THE WEST INDIES- LENNARD, 121-138- VISIBLE LANGUAGE 45.1/ 2 I •e •e' • • • • © VISIBLE LANGUAGE, 2011 -RHODE ISLAND SCHOOL OF DESIGN- PROVIDENCE, RHODE ISLAND 02903 .. ' ABSTRACT The article offers two approaches to the question of 'invisible punctuation,' theoretical and critical. The first is a taxonomy of modes of punctuational invisibility, · identifying denial, repression, habituation, error and absence. Each is briefly discussed and some relations with technologies of reading are considered. The second considers the paragraphing, or lack of it, in Sir Philip Sidney's Apology for Poetry: one of the two early printed editions and at least one of the two MSS are mono paragraphic, a feature always silently eliminated by editors as a supposed carelessness. It is argued that this is improbable -
Punctuation Guide
Punctuation guide 1. The uses of punctuation Punctuation is an art, not a science, and a sentence can often be punctuated correctly in more than one way. It may also vary according to style: formal academic prose, for instance, might make more use of colons, semicolons, and brackets and less of full stops, commas, and dashes than conversational or journalistic prose. But there are some conventions you will need to follow if you are to write clear and elegant English. In earlier periods of English, punctuation was often used rhetorically—that is, to represent the rhythms of the speaking voice. The main function of modern English punctuation, however, is logical: it is used to make clear the grammatical structure of the sentence, linking or separating groups of ideas and distinguishing what is important in the sentence from what is subordinate. It can also be used to break up a long sentence into more manageable units, but this may only be done where a logical break occurs; Jane Austen's sentence ‗No one who had ever seen Catherine Morland in her infancy, would ever have supposed her born to be a heroine‘ would now lose its comma, since there is no logical break between subject and verb (compare: ‗No one would have supposed …‘). 2. The main stops and their functions The full stop, exclamation mark, and question mark are used to mark off separate sentences. Within the sentence, the colon (:) and semicolon (;) are stronger marks of division than the comma, brackets, and the dash. Properly used, the stops can be a very effective method of marking off the divisions and subdivisions of your argument; misused, they can make it barely intelligible, as in this example: ‗Donne starts the poem by poking fun at the Petrarchan convention; the belief that one's mistress's scorn could make one physically ill, he carries this one step further…‘. -
19. Punctuation
punctuation 19. Punctuation Punctuation is important because it helps achieve clarity and readability . ’ Apostrophes Use • before the “s” in singular possessives: The prime minister’s suggestion was considered. • after the “s” in plural possessives: The ministers’ decision was unanimous. Do not use • in plural dates and abbreviations: 1930s, NGOs • in the possessive pronoun “its”: The government characterised its budget as prudent. See also: Capitalisation, pp. 66-68. : Colons Use • to lead into a list, an explanation or elaboration, an indented quotation • to mark the break between a title and subtitle: Social Sciences for a Digital World: Building Infrastructure for the Future (book) Trends in transport to 2050: A macroscopic view (chapter) Do not use • more than once in a given sentence • a space before colons and semicolons. 90 oecd style guide - third edition @oecd 2015 punctuation , Commas Use • to separate items in most lists (except as indicated under semicolons) • to set off a non-restrictive relative clause or other element that is not part of the main sentence: Mr Smith, the first chairperson of the committee, recommended a fully independent watchdog. • commas in pairs; be sure not to forget the second one • before a conjunction introducing an independent clause: It is one thing to know a gene’s chemical structure, but it is quite another to understand its actual function. • between adjectives if each modifies the noun alone and if you could insert the word “and”: The committee recommended swift, extensive changes. Do not use • after “i.e.” or “e.g.” • before parentheses • preceding and following en-dashes • before “and”, at the end of a sequence of items, unless one of the items includes another “and”: The doctor suggested an aspirin, half a grapefruit and a cup of broth. -
How to Edit IPA 1 How to Use SAMPA for Editing IPA 2 How to Use X
version July 19 How to edit IPA When you want to enter the International Phonetic Association (IPA) character set with a computer keyboard, you need to know how to enter each IPA character with a sequence of keyboard strokes. This document describes a number of techniques. The complete SAMPA and RTR mapping can be found in the attached html documents. The main html document (ipa96.html) comes in a pdf-version (ipa96.pdf) too. 1 How to use SAMPA for editing IPA The Speech Assessment Method (SAM) Phonetic Alphabet has been developed by John Wells (http://www.phon.ucl.ac.uk/home/sampa). The goal was to map 176 IPA characters into the range of 7-bit ASCII, which is a set of 96 characters. The principle is to represent a single IPA character by a single ASCII character. This table is an example for five vowels: Description IPA SAMPA script a ɑ A ae ligature æ { turned a ɐ 6 epsilon ɛ E schwa ə @ A visual represenation of a keyboard shows the mapping on screen. The source for the SAMPA mapping used is "Handbook of multimodal an spoken dialogue systems", D Gibbon, Kluwer Academic Publishers 2000. 2 How to use X-SAMPA for editing IPA The multi-character extension to SAMPA has also been developed by John Wells (http://www.phon.ucl.ac.uk/home/sampa/x-sampa.htm). The basic principle used is to form chains of ASCII characters, that represent a single IPA character, e.g. This table lists some examples Description IPA X-SAMPA beta β B small capital B ʙ B\ lower-case B b b lower-case P p p Phi ɸ p\ The X-SAMPA mapping is in preparation and will be included in the next release.