Lesson 5 | Sight and Sounds of Greek Words (Module C)
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Combining Diacritical Marks Range: 0300–036F the Unicode Standard
Combining Diacritical Marks Range: 0300–036F The Unicode Standard, Version 4.0 This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 4.0. Characters in this chart that are new for The Unicode Standard, Version 4.0 are shown in conjunction with any existing characters. For ease of reference, the new characters have been highlighted in the chart grid and in the names list. This file will not be updated with errata, or when additional characters are assigned to the Unicode Standard. See http://www.unicode.org/charts for access to a complete list of the latest character charts. Disclaimer These charts are provided as the on-line reference to the character contents of the Unicode Standard, Version 4.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this excerpt file, please consult the appropriate sections of The Unicode Standard, Version 4.0 (ISBN 0-321-18578-1), as well as Unicode Standard Annexes #9, #11, #14, #15, #24 and #29, the other Unicode Technical Reports and the Unicode Character Database, which are available on-line. See http://www.unicode.org/Public/UNIDATA/UCD.html and http://www.unicode.org/unicode/reports A thorough understanding of the information contained in these additional sources is required for a successful implementation. Fonts The shapes of the reference glyphs used in these code charts are not prescriptive. Considerable variation is to be expected in actual fonts. -
Typing in Greek Sarah Abowitz Smith College Classics Department
Typing in Greek Sarah Abowitz Smith College Classics Department Windows 1. Down at the lower right corner of the screen, click the letters ENG, then select Language Preferences in the pop-up menu. If these letters are not present at the lower right corner of the screen, open Settings, click on Time & Language, then select Region & Language in the sidebar to get to the proper screen for step 2. 2. When this window opens, check if Ελληνικά/Greek is in the list of keyboards on your computer under Languages. If so, go to step 3. Otherwise, click Add A New Language. Clicking Add A New Language will take you to this window. Look for Ελληνικά/Greek and click it. When you click Ελληνικά/Greek, the language will be added and you will return to the previous screen. 3. Now that Ελληνικά is listed in your computer’s languages, click it and then click Options. 4. Click Add A Keyboard and add the Greek Polytonic option. If you started this tutorial without the pictured keyboard menu in step 1, it should be in the lower right corner of your screen now. 5. To start typing in Greek, click the letters ENG next to the clock in the lower right corner of the screen. Choose “Greek Polytonic keyboard” to start typing in greek, and click “US keyboard” again to go back to English. Mac 1. Click the apple button in the top left corner of your screen. From the drop-down menu, choose System Preferences. When the window below appears, click the “Keyboard” icon. -
Rgreekl2.Ttf © Copyright 2006 Vernon Eugene Kooy Phd This Font Is An
Rgreekl2.ttf © Copyright 2006 Vernon Eugene Kooy PhD This font is an expanded version of earlier versions, hence named Rgreekl2, which stands for Renaissance Greek with Ligatures version 2.0. It is a large font with approximately 960 glyphs and uses Unicode WGL4 numbering to accommodate the number of characters. However, semantically It is not a Unicode font. It is beta encoded similar to other Greek fonts which use beta encoding. This font is freeware and may be used and distributed freely. I retain the copyright however, in order to make improvements, expand it, or otherwise come out with an improved version. It is not an imitation of any particular font such as those of Robert Estienne, Holbein or Aldus Manutius. It is rather a composite font which incorporates many glyphs (sorts) from each of the many early printers. It is hoped that this font gains a modest distribution and not be a mere curiosity. The font is meant to imitate early printed Greek from the age of incunabula to the end of the 18th century. It is not the intention of this font to make Greek any more difficult or obscure than it already is for beginning students. The font is essentially a font for scholars. This font is organized in such a way that it can be used either as a standard Greek font or a font with Ligatures. The basic Latin section contains control codes and keyboard characters for standard Greek with ligatures for and The Latin supplement section contains Unicode control codes, kai\, ou ou=. prepositional prefixes, alternate letter forms and essential diacriticals. -
The Greek Alphabet & Pronunciation
Lesson 1 tHe Greek aLPHaBet & Pronunciation n this lesson, we learn how to identify and pronounce the letters of I the Greek alphabet. We also distinguish smooth and rough breathing marks and learn the sounds of Greek diphthongs. Finally, we practice reading a few Greek words, such as Ἀχαιός, ἴφθιμος, and προϊάπτω. The classical Greek alphabet has 24 letters (plus two archaic letters that help explain older forms of Greek). Greek Latin Greek Latin Letter Equivalents Sound Name Transcription a as in father (when short, as Α, α A, a ἄλφα alpha in aha) Β, β B, b b as in bite βῆτα beta always g as in get (never soft, Γ, γ G, g γάμμα gamma as in gym) Δ, δ D, d d as in deal δέλτα delta Ε, ε E, e e as in red ἒ ψιλόν epsilon zd as in Mazda (many also pronounce this dz or simply z, Ζ, ζ Z, z because these are simpler to ζῆτα zeta pronounce for native English speakers) long a as in gate or as in Η, η E, e ἦτα eta (French) fête Θ, θ th th as in thick θῆτα theta long e as in feet and police or , ι I, i ἰῶτα iota short i as in hit 2 , κ K, k or C, c k as in kill κάππα kappa , λ L, l l as in language λάμβδα lambda , μ M, m m as in man μῦ mu , ν N, n n as in never νῦ nu , ξ X, x x as in box ξῖ xi o as in ought, but shorter (that is, a “closed” o), or as , ο O, o ὂ μικρόν omicron in the British pronunciation of pot , π P, p p as in pie πῖ pi a trilled r (as in continental , ρ R, r ῥῶ rho European languages) Σ, σ, ς S, s s as in sing σίγμα sigma Τ, τ T, t t as in tip ταῦ tau u as in (French) tu or U, u or (German) Müller, but the u in Υ, υ ὖ ψιλόν upsilon -
On Stress and Syllabification John J
University of Massachusetts Amherst ScholarWorks@UMass Amherst Linguistics Department Faculty Publication Series Linguistics January 1979 On stress and syllabification John J. McCarthy University of Massachusetts, Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/linguist_faculty_pubs Part of the Morphology Commons, Near Eastern Languages and Societies Commons, and the Phonetics and Phonology Commons Recommended Citation McCarthy, John J., "On stress and syllabification" (1979). Linguistic Inquiry. 53. Retrieved from https://scholarworks.umass.edu/linguist_faculty_pubs/53 This Article is brought to you for free and open access by the Linguistics at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Linguistics Department Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. On Stress and Syllabification Author(s): John J. McCarthy Source: Linguistic Inquiry, Vol. 10, No. 3 (Summer, 1979), pp. 443-465 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/4178121 Accessed: 25/06/2009 16:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. -
Greek Had No Letter Like the H in English. the H at the Beginning of Words Was Indicated by What We Call Breathing Signs Or Simply Breathings
SQUIGGLES OVER GREEK LETTERS: QUICK AND DIRTY OVERVIEW BREATHINGS Greek had no letter like the h in English. The h at the beginning of words was indicated by what we call breathing signs or simply breathings. All words that start with a vowel have a breathing sign over them, either a smooth (é- pronounced 'a') or a rough (è- pronounced 'ha') breathing. Diphthongs (vowel combinations) have the breathing over the second vowel: eÈ- , oÍ-. Ever wondered why words of Greek descent starting in r have h-es in them? This is because in Greek, they have a rough breathing: =-. Hence rh ythm, rh etoric, rh ino, etc. ACCENTS Greek also has three accents: The acute ( Ä ), the grave ( Å ), and the circumflex ( Ç ). • Most words carry an accent (you'll learn the exceptions). Accents can only be placed on the final three syllables of a word, and if the last syllable is long, only on the final two syllables. [h and v are always long, as are the diphthongs (=combinations of two vowels. Exceptions TBA: wordfinal -oi and -ai usually count as short). a, i, u can be long or short; e and o are always short.] • The acute ( Ä ) accent can be placed on both long and short vowels and on all of the final three syllables: the antepenult, the penult, and the ultima. These syllables are abbreviated as A, P, and U in Mastronarde. • On the final syllable, the acute is replaced with a grave ( Å ) accent if the word is followed by another accented word. Exx: aÈt Ú n tÚ n êndra. -
New Latin Grammar
NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged. -
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. -
43 Extrametricality and Non-Finality
43 Extrametricality and Non-finality Brett Hyde 1 Introduction Extrametricality and non-finality are often treated as two terms that refer to the same principle of final stress avoidance, the former being implemented in a rule-based framework and the latter being implemented in a constraint-based frame- work. The labels and native frameworks of the two approaches, however, do not constitute the full extent of their differences. As Prince and Smolensky (1993) explain, extrametricality focuses on the parsability of prosodic constituents, while non- finality focuses on the position of stress peaks. Extrametricality is concerned primarily with dominance relations, and non-finality is concerned primarily with prominence relations. Liberman and Prince (1977) introduced extrametricality in their foundational work on metrical stress theory to capture the apparent exclusion of certain English suffixes from the domain of stress rules.1 Recognizing the potentially wide range of applications, Hayes (1980) proposed the general formulation for extra- metricality rules in (1), where the initial or final constituent of a particular domain is designated as extrametrical. 1 5 (1) ___ ]D C → [+extrametrical] / 26 3 7 D[___ The result of extrametricality is essentially invisibility to the application of sub- sequent rules. When a constituent is designated as extrametrical, it is excluded from the domain of rules that might incorporate it into higher levels of prosodic structure. An extrametrical segment cannot be associated with a mora; for example, an extrametrical syllable cannot be footed, and an extrametrical foot cannot be included in a prosodic word. 1 Liberman and Prince introduce the notion of extrametricality to account for the apparent invisibility to stress rules of final -y in English: “From our point of view, -y functions as a kind of ‘extrametrical’ syllable; it simply does not take part in the metrical calculation” (Liberman and Prince 1977: 293). -
Singing Portuguese Nasal Vowels: Practical Strategies for Managing Nasality in Brazilian Art Songs
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS André Campelo University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.181 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Campelo, André, "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS" (2017). Theses and Dissertations--Music. 89. https://uknowledge.uky.edu/music_etds/89 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
LRC GET BETTER TIP Greek LRC GET BETTER TIP Greek
LRC GET BETTER TIP Greek LRC GET BETTER TIP Greek Rules for Greek Accent Marks Rules for Greek Accent Marks Rule 1: There will always be an accent placed on one of Rule 1: There will always be an accent placed on one of the last three syllables in a Greek word. the last three syllables in a Greek word. Antepenult: Third to last syllable. Antepenult: Third to last syllable. Penult: Second to last syllable. Penult: Second to last syllable. Ultima: Last syllable. Ultima: Last syllable. Rule 2: If accented, the second vowel of a dipthong Rule 2: If accented, the second vowel of a dipthong receives the accent. receives the accent. Example: τοῖς ναύταις Example: τοῖς ναύταις Rule 3: There are three main accent marks in Greek: the Rule 3: There are three main accent marks in Greek: the acute, the grave, and the circumflex. acute, the grave, and the circumflex. Acute: ά Acute: ά Grave: ὰ Grave: ὰ Circumflex: ᾶ Circumflex: ᾶ *Smooth & rough breathing marks are not considered accents. *Smooth & rough breathing marks are not considered accents. Rule 4: Graves replace acutes at the end of words which Rule 4: Graves replace acutes at the end of words which are followed immediately by accented syllables. are followed immediately by accented syllables. Example: τὸν δένδρον Example: τὸν δένδρον Rule 5: ε and ο are always short; η, ω, and dipthongs are Rule 5: ε and ο are always short; η, ω, and dipthongs are always long; α, ι, and υ may be either long or short always long; α, ι, and υ may be either long or short depending on context. -
Greek Polytonic – Easy Accent Overview
Greek Polytonic – Easy Accent This document contains four sections: 1 Overview 2 Layout of the Easy Accent Keyboard 3 Shift State Graphics 4 Installation Instructions Overview Easy Accent is a custom Greek Polytonic keyboard that John Schwandt (Senior Fellow New Saint Andrews College) created to facilitate typing in ancient Greek while using the modern national Greek keyboard layout. Microsoft comes with a Greek Polytonic keyboard that anyone can add to their Windows system. Once added all you need to do is press Alt+Shift to change from typing in English to typing in Greek. Since this is done in the operating system it works in any program, even in system programs such as naming files and directories. It has all of the letters in the same location as the modern national system but this doesn’t leave much room for all of the possible diacritic marking combinations. If you have tried to access these marking in this keyboard you understand how difficult and unintuitive it is. There had to be an easier way. Since Greek is generally written either in uncials (upper case) or miniscules (lower case) forms without frequent shifting between the two, the Shift Key seemed to be better used for one of the far more frequent accent marks. This lead to the development of all accents being shift states rather than dead keys. The trick was to find three shift states that would still allow for all case form and not conflict with the “control” or “alt” shift states which many programs use for hotkeys. The Easy Accent keyboard uses Shift, AltGr (right Alt), and AltGr+Shift for these shift states.