TURBANS and TOP HATS Indian Interpreters in the Colony of Natal
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The Status of the Least Documented Language Families in the World
Vol. 4 (2010), pp. 177-212 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4478 The status of the least documented language families in the world Harald Hammarström Radboud Universiteit, Nijmegen and Max Planck Institute for Evolutionary Anthropology, Leipzig This paper aims to list all known language families that are not yet extinct and all of whose member languages are very poorly documented, i.e., less than a sketch grammar’s worth of data has been collected. It explains what constitutes a valid family, what amount and kinds of documentary data are sufficient, when a language is considered extinct, and more. It is hoped that the survey will be useful in setting priorities for documenta- tion fieldwork, in particular for those documentation efforts whose underlying goal is to understand linguistic diversity. 1. InTroducTIon. There are several legitimate reasons for pursuing language documen- tation (cf. Krauss 2007 for a fuller discussion).1 Perhaps the most important reason is for the benefit of the speaker community itself (see Voort 2007 for some clear examples). Another reason is that it contributes to linguistic theory: if we understand the limits and distribution of diversity of the world’s languages, we can formulate and provide evidence for statements about the nature of language (Brenzinger 2007; Hyman 2003; Evans 2009; Harrison 2007). From the latter perspective, it is especially interesting to document lan- guages that are the most divergent from ones that are well-documented—in other words, those that belong to unrelated families. I have conducted a survey of the documentation of the language families of the world, and in this paper, I will list the least-documented ones. -
The Evolution of the Film and Photography Industries
Join us for a fascinating panel discussion that traces the trajectory and evolution of the Film and Photography Industries For Immediate Release Avid Learning presents The Changing Face of the Image: The Evolution of the Film and Photography Industries – a live session on how the image making industries of film and photography have changed and evolved – over the years – with the advent of newer technologies and the emergence of fresh artistic perspectives, philosophies and concepts. Award-winning Photographer and Installation Artist Samar Singh Jodha, Award-winning Filmmaker and Photographer Sooni Taraporevala and Oscar-nominated and Two-time National Award-winning Filmmaker Ashvin Kumar will be in conversation with Media Expert and ex-head of the SCM (Social Communications Media) Post-Graduate Course at Sophia Polytechnic Jeroo Mulla. Please read on for more details: Photography and film are two genres that share many synergies and which have both had an interesting history, first being connected to science and the various iterations and adaptations of light, then struggling to be recognized as fine art, and now, with the digital age, the concept of what these two fields entail is constantly changing as are the practitioners themselves. Our cell phones are now packing image making tools that surpass the technology of most digital cameras from fifteen years ago. The shift from analogue to digital photography has elicited diverse reactions from media scholars. While some have written the obituary of photography as the dominant visual medium of the modern world, other scholars see digitisation as merely a means for the continuation or enhancement of this dominant medium. -
Grammar 03M Hindi'jstani' Language
G R A M M A R 03 m ' ' H I N D IJ S TA N I L A N G U A G E , IN T HE ORIENTA L A ND ROMA N C A RA CTER H , W ITH I I NUM E RO US COP PE R-P LATE ILLUSTRATIONS OF THE P E RSIAN A ND DEVANAGARI S Y STEM S OF ALP HABETIC V V BITING a m Is m TO en , A COPIOUS SELECTIONOF EASY EXTRACTS FOR READING, IN T HE I-A A BI A ND D A AGA I A A PERS R C EV N R CH R CTERS, FORM IN G A C OMP LET E IN TR ODUCTION T O u mTori-ma in; A N D BAGH- O-BAHAR ; W H TOG ETHER. IT A V O C A BU L A R Y O F A L L T H E O R D W S , AND VARIOUS EXP LAN ATORY NOTm A NEW DI IO E T N . N A N FORBES D BY DU C L . , L . , ' PROF SS OR O, OBIRH‘I‘AL N GUAG S ND T R ATU R mKIN G S C O G ONDON “ HE RB 0 ! E LA E A LI E E LLE E , L ; O ABIA TIO S OC Y OF GR BR N ND ND THE R Y A T T TA R BI O. L IE EA I I A I ELA . “ E B rmr u n s u n g mmA cormrnr “ ro an a n mmA N NT R ANC mo m me me n E E . -
Burmese, a Grammar of (Soe).Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A GRAMMAR OF BURMESE by MYINTSOE A DISSERTATION Presented to the Department of Linguistics and the Graduate School of the University of Oregon in partial fulfillment o f the requirements for the degree of Doctor of Philosophy December 1999 Reproduced with permission of the copyright owner. -
The British Learning of Hindustani
The British Learning of Hindustani Tariq Rahman The British considered Hindustani, an urban language of north India, the lingua franca of the whole country. They associated it with (easy) Urdu and not modern, or Sanskritized, Hindi. They learned it to exercise power and, because of that, were not careful of mastering the polite usages of the language or its grammar. The British perceptions of the language spread it widely throughout India, especially the urban areas, making it much more widespread than it was when they had arrived. Moreover, their tilt towards Urdu associated it with the Muslims and the language was officially discarded in favour of Hindi in India after independence. The literature of Anglo-India (used here in the earlier sense for the British in India and not for those born of marriages between Europeans and Indians as it came to be understood later) is full of words from Hindustani (also called Urdu by some authors). Rudyard Kipling (1865-1936) can hardly be enjoyed unless one is provided with a glossary of these words and even then the authenticity of the experience of the raj is lost in the translation and the interpretation. Many of those who had been in India used words of Hindustani as an identity marker. According to Ivor Lewis, author of a dictionary of Anglo-Indian words: They [the Hindustani words] could not have been much used except (with fading relevance) among a declining number of 20 Pakistan Vision Vol. 8 No. 2 retired Anglo-Indians in the evening of their lives spent in their salubrious English compounds and cantonments. -
Grammar of Urdu Or Hindustani.Pdf
OF THE URDU OR HINDUSTANI LANGUAGE. BY THE SAME AUTHOR. Crown 8vo, cloth, price 2s. 6d. HINDUSTANI EXERCISES. A Series of Passages and Extracts adapted for Translation into Hindustani. Crown 8vo, cloth, price 7s. IKHWANU-9 SAFA, OR BROTHERS OF PURITY. Translated from the Hindustani. "It has been the translator's object to adhere as closely as possible to the original text while rendering the English smooth and intelligible to the reader, and in this design he has been throughout successful." Saturday Review. GRAMMAR URDU OR HINDUSTANI LANGUAGE. JOHN DOWSON, M.R.A.S., LAT5 PROCESSOR OF HINDCSTANI, STAFF COLLEGE. Cfjtrfl (SBitton. LONDON : KEGAN PAUL, TRENCH, TRUBNER & CO. L DRYDEN HOUSE, GERRARD STREET, W. 1908. [All riijhts reserved.] Printed by BALLANTYNK, HANSOM &* Co. At the Ballantyne Press, Edinburgh TABLE OF CONTENTS. PACK PREFACE . ix THE ALPHABET 1 Pronunciation . .5,217 Alphabetical Notation or Abjad . 1 7 Exercise in Reading . 18 THE AKTICLE 20 THE Nora- 20 Gender 21 Declension. ...... 24 Izafat 31 THE ADJECTIVE 32 Declension ...... 32 Comparison ... 33 PRONOUNS Personal. ...... 37 Demonstrative ...... 39 Respectful 40 Reflexive 41 Possessive 41 Relative and Correlative . .42 Interrogative . 42 Indefinite ....... 42 Partitive . 43 Compound. .43 VERB 45 Substantive and Auxiliary 46 Formation of . 46 Conjugation of Neuter Verbs . .49 Active Verbs . 54 Irregulars . .57 Hona 58 Additional Tenses . 60 2004670 CONTENTS. VERB (continued) Passive Verb ....... 62 Formation of Actives and Causals ... 65 Nominals 69 Intensives ..... 70 Potentials Completives . .72 Continuatives .... Desideratives ..... 73 Frequentatives .... 74 Inceptives . 75 Permissives Acquisitives . .76 Reiteratives ..... 76 ADVKRBS ......... 77 PREPOSITIONS 83 CONJUNCTIONS 90 INTERJECTIONS ....... 91 NUMERALS ......... 91 Cardinal 92 Ordinal 96 Aggregate 97 Fractional 97 Ralcam 98 Arabic 99 Persian 100 DERIVATION 101 Nouns of Agency . -
Vulgaris Seu Universalis
Paolo Aranha Vulgaris seu Universalis Early Modern Missionary Representations of an Indian Cosmopolitan Space Early Modern Oriental Knowledge and Missionary Debates in India The history of religious missions, in particular the early modern European Catholic ones, has drawn a remarkable interest in recent years, both among scholars and by the general public.1 Such a trend can be explained by several reasons, although all of them seem to be related to the processes of globali- zation or mondialisation that are seen at work with special intensity in our time. The religious missions are indeed a phenomenon that exemplifies in an eloquent way the intellectual exercise of a global history aiming to find connections and exchanges, both material and cultural, among different parts of the world. Missionaries can be seen also as professional brokers of cultural diversity, evoking just too easily—and not necessarily in a very pertinent way—current debates on multiculturalism and encounters of cultures. More- over, European religious missions are an obvious benchmark for endorsing or criticising the category of “Orientalism,” as developed—both influentially and controversially—by Edward Said (1978). As religious missions draw a growing attention, it has been recently suggested that these might be considered less predominantlySpecimen than in the past in terms of a religious specificity. Pierre- Antoine Fabre and Bernard Vincent claimed in the introduction to a recent collective book that the historiography on early modern missions has been developed lately in function of “a research horizon independent from the traditions connected to religious history.”2 Such an observation seems to be confirmed in the case of the Jesuits, the single most studied religious order of early modern Catholicism, to the point that “currently, in danger of being lost sight of is precisely the religious dimension of the Jesuit enterprise” (O’Malley 2013: 33). -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam -
Nominations for Padma Awards 2011
c Nominations fof'P AWARDs 2011 ADMA ~ . - - , ' ",::i Sl. Name';' Field State No ShriIshwarappa,GurapJla Angadi Art Karnataka " Art-'Cinema-Costume Smt. Bhanu Rajopadhye Atharya Maharashtra 2. Designing " Art - Hindustani 3. Dr; (Smt.).Prabha Atre Maharashtra , " Classical Vocal Music 4. Shri Bhikari.Charan Bal Art - Vocal Music 0, nssa·' 5. Shri SamikBandyopadhyay Art - Theatre West Bengal " 6: Ms. Uttara Baokar ',' Art - Theatre , Maharashtra , 7. Smt. UshaBarle Art Chhattisgarh 8. Smt. Dipali Barthakur Art " Assam Shri Jahnu Barua Art - Cinema Assam 9. , ' , 10. Shri Neel PawanBaruah Art Assam Art- Cinema Ii. Ms. Mubarak Begum Rajasthan i", Playback Singing , , , 12. ShriBenoy Krishen Behl Art- Photography Delhi " ,'C 13. Ms. Ritu Beri , Art FashionDesigner Delhi 14. Shri.Madhur Bhandarkar Art - Cinema Maharashtra Art - Classical Dancer IS. Smt. Mangala Bhatt Andhra Pradesh Kathak Art - Classical Dancer 16. ShriRaghav Raj Bhatt Andhra Pradesh Kathak : Art - Indian Folk I 17., Smt. Basanti Bisht Uttarakhand Music Art - Painting and 18. Shri Sobha Brahma Assam Sculpture , Art - Instrumental 19. ShriV.S..K. Chakrapani Delhi, , Music- Violin , PanditDevabrata Chaudhuri alias Debu ' Art - Instrumental 20. , Delhi Chaudhri ,Music - Sitar 21. Ms. Priyanka Chopra Art _Cinema' Maharashtra 22. Ms. Neelam Mansingh Chowdhry Art_ Theatre Chandigarh , ' ,I 23. Shri Jogen Chowdhury Art- Painting \VesfBengal 24.' Smt. Prafulla Dahanukar Art ~ Painting Maharashtra ' . 25. Ms. Yashodhara Dalmia Art - Art History Delhi Art - ChhauDance 26. Shri Makar Dhwaj Darogha Jharkhand Seraikella style 27. Shri Jatin Das Art - Painting Delhi, 28. Shri ManoharDas " Art Chhattisgarh ' 29. , ShriRamesh Deo Art -'Cinema ,Maharashtra Art 'C Hindustani 30. Dr. Ashwini Raja Bhide Deshpande Maharashtra " classical vocalist " , 31. ShriDeva Art - Music Tamil Nadu Art- Manipuri Dance 32. -
Festival Catalogue 2015
Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai. -
Bombay Meri Jaan That All Committees Have Ienthusiastically Kick Started This Year with Detailed Plans Laid Down for Various Projects
Volume No.60 | Issue No. 03 | July 17, 2018 President's Message am happy to announce Bombay Meri Jaan that all committees have I enthusiastically kick started this year with detailed plans laid down for various projects. Having a plan in place is the only way to keep ourselves on track. There is a saying that goes, “When you know where you are going, the universe will pave a path for you”. We will be publishing the plans of each committee in The Gateway. Every week we shall highlight one committee and its projects. It was my privilege to attend the installation of District 314 Inner Wheel President, Pallavi Nerker on 10th July. It is noteworthy that they are not far behind us in raising funds. I applaud their efforts in collecting funds worth ` 35 lakhs within the first few Guest Speaker - Ms. Sooni Taraporevala weeks. Great effort on their part. adma Shri recipient Sooni Taraporevala Rtn. Vijay Jatia, has permanent displays for her photographs in the National Gallery President P of Modern Art, Delhi and the Metropolitan Museum of Art, New York. Her work has also been exhibited in art galleries across the USA, France, and in the Tate Modern Gallery in Today's Speaker Mr. Ishaat Hussain London. A rendezvous with legendary photographer In this Issue Raghubir Singh after her return from NYU put her on the path to photographing Parsis Reliance Foundation Hospital Partnership .................. 3 in Mumbai. Looking through her photos, he Career Counselling at Bhavishya Yaan ......................... 4 advised her to concentrate on Parsis because ECHO awarded Best Joint Project ............................... -
Extended Sanskrit Grammar and the Classification of Words Emilie Aussant
Extended Sanskrit Grammar and the classification of words Emilie Aussant To cite this version: Emilie Aussant. Extended Sanskrit Grammar and the classification of words. Beiträge zur Geschichte der Sprachwissenschaft, Nodus, 2020, Extended Grammars, pp.9-22. hal-02614004 HAL Id: hal-02614004 https://hal.archives-ouvertes.fr/hal-02614004 Submitted on 1 Jun 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Inhalt / Contents / Sommaire Beiträge 6SHFLPHQAufsätze / Articles 6SHFLPHQ zur Geschichte Émilie Aussant, Jean-Luc Chevillard: Foreword ........................................................................................ 3 der Sprachwissenschaft Émilie Aussant: Extended Sanskrit Grammar and the classification of words ........................... 9 Peter M. Scharf: The generalization of the R ࡢ gvedic system of accentuation and the reinterpretation of grammatical texts accordingly .............................. 23 Victor B. D’Avella: The theorization of Tamil compounds ...................................................... 43 Cristina Muru: Grammaire Latine Étendue. Two Portuguese missionary Tamil Arte (17th cent.) ...................................... 59 Extended Grammars Gonçalo Fernandes: Themenheft Latin sources of the first printed Konkani and Marathi grammars (1640–1859) .... 74 Thi Kieu Ly Pham: Les deux premières grammaires vietnamiennes écrites en latin (1651 et 1838) ..... 88 Claudia Schweitzer: Les traces des grammaires latine et grecque dans le traitement de l’accent typographique chez les grammairiens et musiciens français vers 1700 ..............