Georgian a Learner's Grammar
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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. -
Materials of the Riga 3Rd International Conference on Hellenic Studies
Materials of the Riga 3rd International Conference on Hellenic Studies Latvijas Universitāte Humanitāro zinātņu fakultāte Klasiskās filoloģijas katedra Hellēnistikas centrs HELLĒŅU DIMENSIJA Rīgas 3. starptautiskās hellēnistikas konferences materiāli Sastādītāji: Brigita Aleksejeva Ojārs Lāms Ilze Rūmniece Latvijas Universitāte University of Latvia Faculty of Humanities Chair of Classical Philology Centre for Hellenic Studies HELLENIC DIMENSION Materials of the Riga 3rd International Conference on Hellenic Studies Editors: Brigita Aleksejeva Ojārs Lāms Ilze Rūmniece University of Latvia UDK 930(063) He 396 The book is financially supported by the Hellenic Republic Ministry of Culture and Tourism and the University of Latvia Grāmata izdota ar Grieķijas Republikas Kultūras un tūrisma ministrijas un Latvijas Universitātes atbalstu Support for Conference Proceedings by ERAF Project Support for the international cooperation projects and other international cooperation activities in research and technology at the University of Latvia No. 2010/0202/2DP/2.1.1.2.0/10/APIA/VIAA/013 IEGULDĪJUMS TAVĀ NĀKOTNĒ Editorial board: Gunnar de Boel (Belgium) Igor Surikov (Russia) Thanassis Agathos (Greece) Kateřina Loudová (The Czech Republic) Valda Čakare (Latvia) Ojārs Lāms (Latvia) Ilze Rūmniece (Latvia) Nijolė Juchnevičienė (Lithuania) Tudor Dinu (Romania) Language editing Normunds Titāns Translating Rasma Mozere Cover design: Agris Dzilna Layout: Andra Liepiņa © Brigita Aleksejeva, Ojārs Lāms, Ilze Rūmniece, editors, 2012 © University of Latvia, 2012 ISBN 978-9984-45-469-6 CONTENTS / SATURS Introduction 8 Ievads 10 I ANCIENT TIMES SENLAIKI 11 Vassilis Patronis ECONOMIC IDEAS OF ANCIENT GREEK PHILOSOPHERS: ASSESSING THEIR IMPACT ON THE FORMATION OF THE WORLD ECONOMIC THOUGHT 12 Sengrieķu filozofu idejas par ekonomiku: izvērtējot ietekmi uz pasaules ekonomiskās domas veidošanos Nijolė Juchnevičienė HISTORIOGRAPHIC SCIENTIFIC DISCOURSE AND THE TRADITION OF GEOGRAPHY 22 Zinātniski historiogrāfiskais diskurss un ģeogrāfijas tradīcija Igor E. -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Disentangling Word Stress and Phrasal Prosody: Evidence from Georgian
Disentangling word stress and phrasal prosody: evidence from Georgian Lena Borise Abstract This paper investigates the interaction of word stress and phrasal prosody in Georgian (Kartvelian). Based on novel experimental evidence, I show that the two prosodic phenomena, word stress and phrasal prosodic targets, differ both in their location and acoustic means that their expression relies on. By establishing this, I illustrate the workings of the two separate prosodic modules, which have been lumped together in the literature, leading to contradictory descriptions of Georgian prosody. The results provide evidence in favor of fixed initial stress, cued by greater duration of the stressed syllable, as compared to subsequent ones. They also attest to the presence of a phrasal intonational F0 target on the penultimate syllable. Furthermore, I show that hexasyllabic words, in contrast to shorter ones, exhibit durational ‘rhythmicity’, with longer and shorter syllables alternating; this independent process, accordingly, obscures the prominence of word stress in such words. These results help account for the facts related to word stress, phrasal intonation, and their interplay in Georgian, the object of numerous debates in the literature. They also demonstrate that the effects of word-level and phrase-level prosody can be successfully teased apart, even in a language in which their interaction is rather complex. Key words: Georgian, word stress, phrase accent, F0 targets, phrasal prosody *** Introduction There are numerous languages in which word stress facts, and particularly the interaction of word stress with phrasal intonation and/or information structure, have not been settled and raise a number of questions. Does a language have word stress? What acoustic parameter 1 (syllable/vowel duration, F0, intensity) does its realization chiefly rely upon? How does its realization interact with the expression of phrasal intonation? Such questions abound in languages understudied from the point of view of their phonological and prosodic properties. -
UC Berkeley Dissertations, Department of Linguistics
UC Berkeley Dissertations, Department of Linguistics Title Constructional Morphology: The Georgian Version Permalink https://escholarship.org/uc/item/1b93p0xs Author Gurevich, Olga Publication Date 2006 eScholarship.org Powered by the California Digital Library University of California Constructional Morphology: The Georgian Version by Olga I Gurevich B.A. (University of Virginia) 2000 M.A. (University of California, Berkeley) 2002 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Eve E. Sweetser, Co-Chair Professor James P. Blevins, Co-Chair Professor Sharon Inkelas Professor Johanna Nichols Spring 2006 The dissertation of Olga I Gurevich is approved: Co-Chair Date Co-Chair Date Date Date University of California, Berkeley Spring 2006 Constructional Morphology: The Georgian Version Copyright 2006 by Olga I Gurevich 1 Abstract Constructional Morphology: The Georgian Version by Olga I Gurevich Doctor of Philosophy in Linguistics University of California, Berkeley Professor Eve E. Sweetser, Co-Chair, Professor James P. Blevins, Co-Chair Linguistic theories can be distinguished based on how they represent the construc- tion of linguistic structures. In \bottom-up" models, meaning is carried by small linguistic units, from which the meaning of larger structures is derived. By contrast, in \top-down" models the smallest units of form need not be individually meaningful; larger structures may determine their overall meaning and the selection of their parts. Many recent developments in psycholinguistics provide empirical support for the latter view. This study combines intuitions from Construction Grammar and Word-and-Para- digm morphology to develop the framework of Constructional Morphology. -
Me07finalrevised.Pdf
THE ANNUAL REPORT OF THE George W. Woodruff School of Mechanical Engineering 2006-2007 LETTER FROM talented and enthusiastic new faculty members, most of them at the assistant professor level. We lost some faculty to retirement, others to THE CHAIR resignations, and others were recruited to other institutions. Marc Levenston went to Stanford. Chris Lynch went to the University of This will be the last Annual Report California at Los Angeles. Bill King went to the University of Illinois. under my watch as chair of the Tom Kurfess went to Clemson. Dan Baldwin went to industry. So the Woodruff School of Mechanical new faculty not only replaced those who left, but allowed us to grow to Engineering. As most of you know, I help match our faculty size to our enrollment, which has continued to announced last November my grow. Based on enrollment, we still need additional faculty and hope to intention to retire at the end of May add them in the coming year. We also graduated a record number of 2007. In the spring, I was feted with bachelor’s, master’s, and doctoral students. As you will see in the several very nice going away parties. statistics presented in this report, not only is enrollment up, but student Some of my former Ph.D. students quality continues to improve. We have a very talented group of under- came from across the country and graduate and graduate students. overseas to participate in the celebrations. I was humbled by the honors Another significant change was the loss of our long term presented to me. -
GEORGE LASHA Georgian Name: Lasha Okreshidze
22 Astwood Mews, London, SW7 4DE CDA +44 (0)20 7937 2749|[email protected] GEORGE LASHA Georgian Name: Lasha Okreshidze HAIR: Brown EYES: Blue HEIGHT: 6’ 2’’ SKILLS: Stage Combat, Fencing, Parachuting, Basketball and Shooting SINGING: Tenor LANGUAGES: Georgian (native), Russian, Dutch and Spanish THEATRE INTERIORS ‘The Stranger’ Dir. Matthew Lenton [Vanishing Point at Stefan Jaracz Theatre] AS YOU LIKE IT ‘Duke Senior, Charles and Corin’ Dir. Douglas Rintoul [TransportTheatre.EU] TU I TERAZ/ HERE AND NOW ‘Jan’ Dir. Sam Potter [Hampstead Theatre] BLUEBEARD ‘Bluebeard’ Dir. Lee Lyford [Bristol Old Vic] WAR CORRESPONDENTS ‘Ensemble’ Dir. Helen Chadwick [National Theatre Studio] DO WE LOOK LIKE REFUGEES?! ‘Ensemble’ Dir. Alecky Blythe [Rustaveli Theatre & Edinburgh Festival] POSTERITY ‘Guram’ Dir. Gogi Kavtaradze [Basement Theatre] WHITE FLAGS ‘Limona’ Dir. Gogi Kavtaradze [Basement Theatre] Marjanishvili Theatre – State Theatre of Georgia, Tbilisi TWO FOR THE SEESAW ‘Jerry’ Dir. Ramaz Sikharulidze GIORGI MAZNIASHVILI ‘Major Karumidze’ Dir. Giorgi Kavtaradze WUNDERKIND ‘Inspector Weiskopf’ Dir. Zaza Sikharulidze THE LANDSCAPE LACKS WARMTH ‘Hans’ Dir. David Khvtisiashvili HISTORICAL TALE ‘Commander’ Dir. Nino Burduli KAKUTSA CHOLOKASHVILI ‘Badura’ Dir. Levan Tsuladze BAKHTRIONI ‘Tushetian’ Dir. Temur Chkheidze KING LEAR ‘King of France’ Dir. David Doiashvili ROSENCRANTZ & GUILDENSTERN ARE DEAD ‘Hamlet’ Dir. David Andguladze TELEVISION KING GARY [Shiny Button Productions] ‘Voytec’ Dir. James De Frond DOCTORS [BBC TV] ‘Ivo Aklov’ Dir. Gary Williams LE BUREAU DES LEGENDES [The Oligarchs Productions with Canal + France] ‘Medecin FSB’ Dir. Eric Rochant THE ROYALS [Privileged Productions] ‘Viktor’ Dir. Tara Nicole Weyr / Les Butler DOCTORS [BBC TV] ‘Anton Vasiloff’ Dir. Tracey Larcombe VERA: Muddy Waters [ITV Studios] ‘Zamir Ilic’ Dir. Stewart Svaasand INTERCEPTOR [BBC1] ‘The Latvian’ Dir. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Viacheslav A. Chirikba: Abkhaz
Abkhaz is one of the three languages comprising the Abkhazo Adyghean, or West Caucasian branch of North Caucasian linguistic bkhaz family (the other branch being Nakh-Daghestanian, or East Caucasian). Abkhaz is spoken by approximately 100,000 people in the former Soviet Union (mainly in the Republic of Abkhazia, Caucasus), and by at least the same number of speakers in Turkey and some Middle east countries (small Abkhaz colonies can be found also In Western Europe and the USA). Abkhaz is notorious for ist huge consonantal inventory (up to 67 consonants in the Bzyp dialect) and by its minmal vocalic system: only 2 vowels. Though Abkhaz was studied by a number of scholars (e.g. P. Uslar in XIX century, or K. Lomtatidze Viacheslav A. Chirikba in Georgia and G Hewitt in Great Britain), many aspects of Abkhaz grammar (especially its syntax) still have to be adequately described. Abkhaz is the only West Caucasian language to possess the category of grammatical classes, manifested in personal pronouns, verb conjugation, numerals and in the category of number. Abkhaz is an ergative language, the ergative construction being represented not by case endings, as in related Circasslan and Ubykh (Abkhaz does not have a case system), but by the order of actant markers. The verbal root consists usually of one consonant, preceded by a string of prefixes (class-personal, directional, temporal, negational, causatival, etc.) and followed by few suffixes. Verbs can be stative or dynamic, finite or non-finite. The grammatical sketch of Abkhaz includes Information about its phonological system, morphology, and syntax. A short text Is provided with grammatical comments. -
Distributive and Acoustic Analysis of [Q'] and [ʔ
Language@Leeds Working Papers. Issue 1 (2020) 29 Distributive and Acoustic Analysis of [q’] and [ʔ] Consonants in Megrelian Marine Ivanishvili, Ivane Lezhava Iv. Javakhishvili Tbilisi State University, Tbilisi, Georgia E-mail: [email protected], [email protected] Abstract The phonemic systems of Georgian and Zan (Megrelian-Laz) languages coincide with each other. The difference is minimal: 1) the so-called neutral vowel [ə]; 2) the glottal plosive (stop) consonant [ʔ],1 which in the linguistic literature is qualified variously. It is shared that [ʔ] and dorso-uvular ejective [q’] are the allophones of one phoneme. It should be noted that [q’] falls within the system of fricatives; though following the fricative on-glide, it is characterized by occlusion as well. Here, too, the classification necessitates the consideration of syntagmatic level (e.g., in “harmonic” clusters [q’] will be found alongside the fricatives [γ] and [x]: [bγ], [px], [p’q’]...). Because of that, some phoneticians used to qualify it as a “spirantoid” (Akhvlediani, 1999, pp. 90, 294). Our synchronic distributive and experimental analysis shows that [q’] and [ʔ] are different phonemes. In particular, it has been stated that the distribution of [ʔ] is: #-V, V-V, #-v(ვ), -S- v(ვ) (and the same for [q’]). Although for the [q’] : [ʔ] opposition there is no minimal pair, many examples of contrastive distributions are attested, on the basis of which we can consider [q’] and [ʔ] not as the positional variants of [q’] phoneme, but as two different phonemes in the Megrelian consonant system. This is also confirmed by the typological point of view, because in the languages with glottalization, usually the /ʔ/ phoneme is presented. -
Proposal for the Georgian Script Root Zone LGR
Proposal for the Georgian Script Root Zone LGR LGR Version 2 Date: 2016-11-24 Document version: 1.1 Authors: GEORGIAN SCRIPT GENERATION PANEL 1 General Information/ Overview/ Abstract The purpose of this document is to give an overview of the proposed Georgian LGR in the XML format and the rationale behind the design decisions taken. It includes a discussion of relevant features of the script, the communities or languages using it, the process and methodology used and information on the contributors. The formal specification of the LGR can be found in the accompanying XML document: • Proposed-LGR-Georgian-20160915.xml Labels for testing can be found in the accompanying text document: • Labels-GeorgianScript-20160915.txt 2 Script for which the LGR is proposed ISO 15924 Code: Geor ISO 15924 Key N°: 240 ISO 15924 English Name: Georgian Mkhedruli Latin transliteration of native script name: Mkhedruli Native name of the script: მხედრული Maximal Starting Repertoire (MSR) version: MSR-2 Proposal for a Georgian Script Root Zone LGR Georgian Script GP 3 Background on Script and Principal Languages Using It The Georgian scripts are the three writing systems used to write the Georgian language: Asomtavruli, Nuskhuri and Mkhedruli. Mkhedruli (Georgian: მხედრული) is the current Georgian script and is therefore the standard script for modern Georgian and its related Kartvelian languages, whereas Asomtavruli and Nuskhuri are used only in ceremonial religious texts and iconography. In the following, the term Georgian script is used synonymously with Mkhedruli. Like the two other scripts, Mkhedruli is purely unicameral. Mkhedruli first appears in the 10th century - the oldest Mkhedruli inscription found is dated back to 982 AD. -
Boriss Lurje Un NO!Art Boris Lurie and NO!Art Boriss Lurje
Boriss Lurje un NO!art Boris Lurie and NO!art Boriss Lurje. Manai Šeinai Gitl/ manai Valentīnai. 1981. Papīrs, gleznojums, kolāža, 99x75 cm Boris Lurie. To my Sheina Gitl/ My Valentine. 1981. Paint, paper collage, tape on paper Boriss Lurje un NO!art Boris Lurie and NO!art Mākslas muzejs RīgAS BIRža Art Museum RIGA BOURSE 2019. gada 11. janvāris – 2019. gada 10. marts January 11, 2019 – March 10, 2019 Izstādes kuratore/ Curator of the exhibition: Ivonna Veiherte Projekta vadītāja/ Project manager: Vita Birzaka Izstādes dizains/ Design of the exhibition: Anna Heinrihsone Izstādes projekta sadarbības partneris/ Collaboration partner for the exhibition Boris Lurie Art Foundation, New York, USA: Gertrude Stein, President Anthony Williams, Chairman of the Board Chris Shultz, Collections Manager Jessica Wallen, Project Manager Rafael Vostell, Advisor Uz vāka: Boriss Lurje. Bez nosaukuma (Uzsmidzinātais NĒ). 1963. Masonīts, izsmidzināmā krāsa, 56x52 cm On the cover: Boris Lurie. Untitled (NO Sprayed). 1963. Spray paint on masonite © Boris Lurie Art Foundation Izstāde “Boriss Lurje un NO!art” turpina vienu no Mākslas muzejam RĪGAS BIRža tik svarīgajiem virzieniem – iepazīstināt skatītājus ar 20. gadsimta māks- las vēsturi, šajā gadījumā – ar tik spilgtu un neparastu kontrkultūras parādību kā NO!art kustība. Sociāli un politiski aktīvie sava ceļa gājēji, kā Boriss Lurje (Boris Lurie), Sems Gudmens (Sam Goodman), Stenlijs Fišers (Stanley Fisher), Ņujorkas kultūras dzīvē tiek atpazīti kā nepiekāpīgie opozicionāri, kuriem NO!art gars un 1960. gadu sākuma izstādes ir kļuvušas par impulsiem radošiem mek- lējumiem mūža garumā. Raksturojot šos māksliniekus un komentējot Borisa Lurje darbu izstādi savā galerijā, Ģertrūde Staina savulaik rakstījusi:” NĒ mākslā ir NĒ konformismam un materiālismam.