Efforts to Open Aurora Street on Hold
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Unicode Request for Cyrillic Modifier Letters Superscript Modifiers
Unicode request for Cyrillic modifier letters L2/21-107 Kirk Miller, [email protected] 2021 June 07 This is a request for spacing superscript and subscript Cyrillic characters. It has been favorably reviewed by Sebastian Kempgen (University of Bamberg) and others at the Commission for Computer Supported Processing of Medieval Slavonic Manuscripts and Early Printed Books. Cyrillic-based phonetic transcription uses superscript modifier letters in a manner analogous to the IPA. This convention is widespread, found in both academic publication and standard dictionaries. Transcription of pronunciations into Cyrillic is the norm for monolingual dictionaries, and Cyrillic rather than IPA is often found in linguistic descriptions as well, as seen in the illustrations below for Slavic dialectology, Yugur (Yellow Uyghur) and Evenki. The Great Russian Encyclopedia states that Cyrillic notation is more common in Russian studies than is IPA (‘Transkripcija’, Bol’šaja rossijskaja ènciplopedija, Russian Ministry of Culture, 2005–2019). Unicode currently encodes only three modifier Cyrillic letters: U+A69C ⟨ꚜ⟩ and U+A69D ⟨ꚝ⟩, intended for descriptions of Baltic languages in Latin script but ubiquitous for Slavic languages in Cyrillic script, and U+1D78 ⟨ᵸ⟩, used for nasalized vowels, for example in descriptions of Chechen. The requested spacing modifier letters cannot be substituted by the encoded combining diacritics because (a) some authors contrast them, and (b) they themselves need to be able to take combining diacritics, including diacritics that go under the modifier letter, as in ⟨ᶟ̭̈⟩BA . (See next section and e.g. Figure 18. ) In addition, some linguists make a distinction between spacing superscript letters, used for phonetic detail as in the IPA tradition, and spacing subscript letters, used to denote phonological concepts such as archiphonemes. -
A Comparative Phonetic Study of the Circassian Languages Author(S
A comparative phonetic study of the Circassian languages Author(s): Ayla Applebaum and Matthew Gordon Proceedings of the 37th Annual Meeting of the Berkeley Linguistics Society: Special Session on Languages of the Caucasus (2013), pp. 3-17 Editors: Chundra Cathcart, Shinae Kang, and Clare S. Sandy Please contact BLS regarding any further use of this work. BLS retains copyright for both print and screen forms of the publication. BLS may be contacted via http://linguistics.berkeley.edu/bls/. The Annual Proceedings of the Berkeley Linguistics Society is published online via eLanguage, the Linguistic Society of America's digital publishing platform. A Comparative Phonetic Study of the Circassian Languages1 AYLA APPLEBAUM and MATTHEW GORDON University of California, Santa Barbara Introduction This paper presents results of a phonetic study of Circassian languages. Three phonetic properties were targeted for investigation: voice-onset time for stop consonants, spectral properties of the coronal fricatives, and formant values for vowels. Circassian is a branch of the Northwest Caucasian language family, which also includes Abhaz-Abaza and Ubykh. Circassian is divided into two dialectal subgroups: West Circassian (commonly known as Adyghe), and East Circassian (also known as Kabardian). The West Circassian subgroup includes Temirgoy, Abzekh, Hatkoy, Shapsugh, and Bzhedugh. East Circassian comprises Kabardian and Besleney. The Circassian languages are indigenous to the area between the Caspian and Black Seas but, since the Russian invasion of the Caucasus region in the middle of the 19th century, the majority of Circassians now live in diaspora communities, most prevalently in Turkey but also in smaller outposts throughout the Middle East and the United States. -
Writing System in Ukrainian
Some properties of the Ukrainian writing system Solomija Buk1, Lviv Ján Mačutek2, Bratislava Andrij Rovenchak3, Lviv Abstract. We investigate the grapheme–phoneme relation in Ukrainian and some properties of the Ukrainian version of the Cyrillic alphabet. Keywords: Ukrainian, phoneme-grapheme relation, script analysis. 1. Introductory remarks Ukrainian is an East Slavic language spoken by about 40 million people in Ukraine and Ukrainian communities in neighboring states (Belarus, Moldova, Poland, Slovakia, Russia — especially in the so-called Zelenyj Klyn ‘Green wedge’ in the Far East Siberia from the Amur and Ussuri rivers eastwards to the Pacific), also in Argentina, Australia, Brazil, Canada, USA, and some others. The features typical for modern Ukrainian are found already in the texts from 11th- 12th cent. AD, they have been appearing systematically since 14th-15th cent. (Rusanivsjkyj 2004). Ukrainian uses the Cyrillic script. The Cyrillic alphabet, also known as azbuka (from old names of its first two letters ( ) and ( )), has been traditionally used to write East and South Slavic languages (with the exception of modern Croatian and Slovenian), and also Romanian until 1860 (Jensen 1969: 491). As a result of political decisions it spread over a much larger area covering most (but not all) of languages in the former USSR, many of them using Latin or Arabic script before (cf. Comrie 1996b for a more detailed historical overview). Obviously, being applied in so different languages like Russian, Abkhaz, Tatar, Tajik or Chukchi (to give just a few examples) it had to represent much more phonemes than those occurring in Slavic languages, hence there are/were many language specific modifications of the alphabet (modified particular letters, diacritic marks or completely new letters, cf. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
The Museum of Modern Art Presents a Discussion of the HBO Series the Sopranos with the Series Writer/Director David Chase and No
MoMA | press | Releases | 2001 | Discussion on The Sopranos Page 1 of 3 For Immediate Release February 2001 THE MUSEUM OF MODERN ART HOSTS DISCUSSION ON THE SOPRANOS Discussion with David Chase and media writer Ken Auletta February 12, 2001 The Sopranos February 3-13, 2001 The Roy and Niuta Titus Theatre 1 The Museum of Modern Art presents a discussion of the HBO series The Sopranos with the series writer/director David Chase and noted media writer and author Ken Auletta, February 12, 2001 at 6:00 p.m. at the Roy and Niuta Titus Theatre 1. Recording the domestic dramas and business anxieties of family living the bourgeois life in a pleasant New Jersey suburb, The Sopranos is a saga of middle-class life in America at the turn of the century. Chronicled in twenty-six hour-long episodes, the first two seasons from the series will be shown in two four-day sequences at The Museum of Modern Art, from February 3-13 at the Roy and Niuta Titus Theatre 1. "The Sopranos is a cynical yet deeply felt look at this particular family man," remarks Laurence Kardish, Senior Curator, Department of Film and Video, who organized the program. "David Chase and his team have created a series distinguished by its bone-dry humor and understated, quirky, and stinging perspective - not usually seen on television." Renowned for his savvy profiles of power players in the media, Ken Auletta will join David Chase for a discussion of The Sopranos at The Museum on February 12. The Department of Film and Video gratefully acknowledges HBO for making the series available for public viewing. -
Intersection of Gender and Italian/Americaness
THE INTERSECTION OF GENDER AND ITALIAN/AMERICANESS: HEGEMONY IN THE SOPRANOS by Niki Caputo Wilson A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL December 2010 ACKNOWLEDGEMENTS I could not have completed this dissertation without the guidance of my committee members, the help from my friends and colleagues, and the support of my family. I extend my deepest gratitude to my committee chair Dr. Jane Caputi for her patience, guidance, and encouragement. You are truly an inspiration. I would like to thank my committee members as well. Dr. Christine Scodari has been tireless in her willingness to read and comment on my writing, each time providing me with insightful recommendations. I am indebted to Dr Art Evans, whose vast knowledge of both The Sopranos and ethnicity provided an invaluable resource. Friends, family members, and UCEW staff have provided much needed motivation, as well as critiques of my work; in particular, I thank Marc Fedderman, Rebecca Kuhn, my Aunt Nancy Mitchell, and my mom, Janie Caputo. I want to thank my dad, Randy Caputo, and brother, Sean Caputo, who are always there to offer their help and support. My tennis friends Kathy Fernandes, Lise Orr, Rachel Kuncman, and Nicola Snoep were instrumental in giving me an escape from my writing. Mike Orr of Minuteman Press and Stefanie Gapinski of WriteRight helped me immensely—thank you! Above all, I thank my husband, Mike Wilson, and my children, Madi and Cole Wilson, who have provided me with unconditional love and support throughout this process. -
Church Slavonic Fonts
Church Slavonic Fonts Aleksandr Andreev∗ Nikita Simmons September 6, 2020 version 2.2 (pdf file generated on September 6, 2020) Contents 1 Introduction 2 1.1 License ................................ 3 1.2 Description .............................. 3 1.3 Installation and Usage ........................ 3 1.3.1 Font Formats ........................ 4 1.4 Source Packages ........................... 4 1.5 System Requirements ........................ 4 1.5.1 Microsoft Windows ..................... 5 1.5.2 GNU/Linux ......................... 5 1.5.3 OS X ............................. 5 1.6 Private Use Area ........................... 5 2 OpenType Tenology 6 2.1 On Microsoft Windows ....................... 6 2.2 On GNU/Linux ............................ 7 2.3 OpenType Features ......................... 7 2.3.1 Combining Mark Positioning ............... 7 2.3.2 Glyph Composition and Decomposition ......... 8 2.3.3 Language-based Features ................. 8 2.3.4 Stylistic Alternatives and Stylistic Sets .......... 9 2.4 SIL Graphite Technology ...................... 9 2.5 Support of Advanced Features in LibreOffice ........... 10 ∗ Comments may be directed to [email protected]. 1 3 Fonts for Synodal Slavonic 10 3.1 Ponomar Unicode .......................... 10 3.1.1 Advanced Features of the Font .............. 13 4 Fonts for Pre-Nikonian Printed Slavonic 15 4.1 Fedorovsk Unicode ......................... 15 4.1.1 Advanced Features of the Font .............. 16 5 Fonts for Working with Ancient Manuscripts 18 5.1 Menaion Unicode .......................... 18 5.1.1 Advanced Features of the Font .............. 18 6 Fonts for Academic Work 18 6.1 Monomakh Unicode ......................... 18 6.1.1 Advanced Features of the Font .............. 22 6.2 Shafarik ............................... 24 7 Decorative Fonts 24 7.1 Indiction Unicode .......................... 24 7.2 Vertograd Unicode .......................... 25 7.3 Cathisma Unicode ......................... -
Highly Complex Syllable Structure
Highly complex syllable structure A typological and diachronic study Shelece Easterday language Studies in Laboratory Phonology 9 science press Studies in Laboratory Phonology Chief Editor: Martine Grice Editors: Doris Mücke, Taehong Cho In this series: 1. Cangemi, Francesco. Prosodic detail in Neapolitan Italian. 2. Drager, Katie. Linguistic variation, identity construction, and cognition. 3. Roettger, Timo B. Tonal placement in Tashlhiyt: How an intonation system accommodates to adverse phonological environments. 4. Mücke, Doris. Dynamische Modellierung von Artikulation und prosodischer Struktur: Eine Einführung in die Artikulatorische Phonologie. 5. Bergmann, Pia. Morphologisch komplexe Wörter im Deutschen: Prosodische Struktur und phonetische Realisierung. 6. Feldhausen, Ingo & Fliessbach, Jan & Maria del Mar Vanrell. Methods in prosody: A Romance language perspective. 7. Tilsen, Sam. Syntax with oscillators and energy levels. 8. Ben Hedia, Sonia. Gemination and degemination in English affixation: Investigating the interplay between morphology, phonology and phonetics. 9. Easterday, Shelece. Highly complex syllable structure: A typological and diachronic study. ISSN: 2363-5576 Highly complex syllable structure A typological and diachronic study Shelece Easterday language science press Easterday, Shelece. 2019. Highly complex syllable structure: A typological and diachronic study (Studies in Laboratory Phonology 9). Berlin: Language Science Press. This title can be downloaded at: http://langsci-press.org/catalog/book/249 © 2019, Shelece -
Runnersgazetteberadidefends1989
RUNNERS GAZETTE OCTOBER 1989 PAGE A-7 Berardi De nds Annapo BY GEORGE BANKER ~h~ men's field saw the return of some fifth position was taken by James former winners. The challenge of the C1elland in 53:04. ANNAPOLIS, MD--Maryland's Premier first place with 50:34. Second was taken The third time proved to be a charm for Ten Mile Race, better known as the by Steve Kartalia of Westminister with Donna Elliot of Annandale, VA. In 1987 Annapolis Ten Miler, was contested on 51:28. Third went to Mike Regan of Elliot clocked a 1:06:16 and in 1988 she Sunday, August 27th. The Annapolis Washington, DC 52:34. Jim Hage of finished third with 1:02:55. The Striders should be commended for their Lanham, was fourth with a 5252. In efforts of pulling together the right determination paid off as Elliot clocked sponsors to bring an outstanding running a 1:00:32 for first place (92nd overall). event to the running community. The Only seconds behind was Rose Malloy of uncontrollable factor was the weather Crownsville, MD with 1:00:43 (97th which held high 70 degrees and high overall). Third went to Brenda Walter of humidity. To some runners this event is Memphis, TN with a 1:01:12 (104th used to gauge their level of conditioning. overall). The fourth position went to The event posted about 2,900 finishers. Cathy Ventura-Merkel of Arlington, VA with 1:01:33 (112th overall). Denise The runners had an excellent send off Knickman of Chevy Chase finished fifth from the Navy-Marine Corps Memorial with a 1:03:09 (167th overall). -
Today's TV Programming Aces on Bridge Decodaquote® Celebrity
KITSAPSUN «Wednesday,March 2, 2016 «9A Today’s TV programming MOVIES NEW 3/2/16 11:00 11:30 NOON 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 [KBTC] Cookie Thief Curious Curious Dino Super Cat in Peg Clifford Nature Wild Wild Ready Odd Royal Memories Antiques Antiques Death in Paradise Masterpiece Mystery! [KOMO] KOMO 4News The Chew General Hospital The Doctors Steve Harvey KOMO 4News News ABC KOMO 4News Wheel J’pardy! Gold O’Neals Mod O’Neals American Crime News [KING] New Day NW KING 5News Days of our Lives Dr. Phil (TVPG) Ellen DeGeneres KING 5News at 4KING 5News at 5 News News News Evening Myst-Laura Law &Order: SVU Chicago P.D. News [KONG] Look Paid J. Meyer Sub-D News New Day NW Meredith Vieira The Dr. Oz Show Rachael Ray Extra OK! TV Inside Holly Dr. Phil (TVPG) KING 5News at 9 News Dr Oz [KIRO] Young &Restless KIRO News The Talk (TV14) FABLife (TV14) Bold Minute Judge Judge News News News CBS Insider ET Survivor (TVPG) Criminal Minds CSI: Cyber (TV14) News [KCTS] Dino Dino Super Thomas Sesame Cat in Curious Curious Masterpiece Masterpiece News Busi PBS NewsHour SciTech Field AYear in Space NOVA (TVG) Cosmonauts [KMYQ] Divorce Divorce Judge Judge Judge Mathis Cops Cops Crime Watch TMZ Dish Mother Mother Two Two Simpson Simpson Mod Mod Q13 News at 9Theory Theory Friends [KSTW] Patern Patern Hot Hot Bill Cunningham People’s Court People’s Court Fam Fam Seinfeld Seinfeld Fam Fam Mike Broke Greatest Anml. -
The Sopranos Experience
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The oprS anos Experience Eli Benjamin Weidinger University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Weidinger, Eli Benjamin, "The oprS anos Experience" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4610 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. ! ! The Sopranos Experience by Eli Weidinger A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Amy Rust, Ph.D. Scott Ferguson, Ph.D. Andrew Berish, Ph.D. Date of Approval: March 22, 2013 Keywords: Pay-Cable Television, Gangster Genre, Psychotherapy, Neoliberalism, HBO Copyright © 2013, Eli Weidinger ! ! Dedication I’d like to dedicate this thesis to my parents, Ken and Tammy, and my sister, Sarah, whose loving support and mental guidance have been instrumental in my ability to complete this project. Whether I pack my belongings to drive to California or South Carolina or Florida, they’ve always supported my adventuresome spirit and encouraged me in my pursuits. For that, I give thanks! I’d also like to dedicate this project to my girlfriend, Devyn League, who has been there to encourage me, feed me, water me, and let me grow throughout this process. -
Abecedario Lettering Pdf
Abecedario lettering pdf Continue Vectors Photos Psd Icons Vectors Photos Psd Icons Training, how to pronounce the Spanish alphabet, or abecedario, easy! Most letters have only one sound, making their pronunciation quite simple. The table below shows the letters in abecedario, along with their Spanish name (s), as well as some tips on pronunciation them alone and in combination with other letters. Pronouncing the Spanish alphabet This letter sounds like the sound you use to express the realization in English: this one! This letter often sounds like English b. Especially when it happens between two vowels, it is pronounced with lips without touching, just like the Spanish V. You can also hear it called larga, be grand to be de burro. This letter often sounds like English k. Before e or i, it sounds like s (or th in thick in many parts of Spain.) Although it is not considered a letter anymore RAE, it sounds like a ch in cheese. This letter sounds just like English d, except you have to place the tongue against the upper teeth and not the roof of your mouth when pronouncing it. It often sounds like th in English then, especially when it comes between two vowels. This letter sounds like yes the sound you make when asking for clarification or agreement in English: Eh? What did you say? This letter sounds like an English F. This letter usually sounds just like English g. Before e or i, it sounds like harsh English h. It's very similar to J in Spanish. In general, this letter is silent.