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A COMPARATIVE STUDY of ENGLISH and KURDISH CONNECTIVES in NEWSPAPER OPINION ARTICLES Thesis Submitted for the Degree of Doctor
A COMPARATIVE STUDY OF ENGLISH AND KURDISH CONNECTIVES IN NEWSPAPER OPINION ARTICLES Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Rashwan Ramadan Salih BA, MA School of English University of Leicester 2014 A comparative study of English and Kurdish connectives in newspaper opinion articles Abstract This thesis is a comparative study that investigates English and Kurdish connectives which signal conjunctive relations in online newspaper opinion articles. This study utilises the Hallidayan framework of connectives in light of the principles of Relevance Theory established by Sperber and Wilson (1995). That is, connectives are considered in terms of their procedural meanings; i.e. the different interpretations they signal within different contexts, rather than their conceptual meanings. It finds that Halliday and Hasan’s (1976) classification of conjunctive relations and connectives needs to be modified, in order to lay out a clearer classification of English connectives that could account for their essential characteristics and properties. This modified classification would also help classify Kurdish connectives with greater accuracy. The comparison between connectives from both languages is examined through the use of translation techniques such as creating paradigms of correspondence between the equivalent connectives from both languages (Aijmer et al, 2006). Relevance Theoretic framework shows that any given text consists of two segments (S1 and S2), and these segments are constrained by different elements according to the four sub-categories of conjunctive relations. Different characteristics of connectives are considered in relation to the different subcategories of the Hallidayan framework of the conjunctive relations as follows: additive: the semantic content of the segments S1 and S2; adversative: the polysemy of the connectives; causal-conditional: iconicity in the order of the segments and temporal: the time scenes in the segments S1 and S2 The thesis comprises eight chapters. -
Afgbaskerville (The Type Face)
gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo. -
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. -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
CLIB 2016 Proceedings
The Second International Conference Computational Linguistics in Bulgaria (CLIB 2016) is organised within the Operation for Support for International Scientific Conferences Held in Bulgaria of the National Science Fund Grant № ДПМНФ 01/9 of 11 Aug 2016. National Science Fund CLIB 2016 is organised by: The Department of Computational Linguistics, Institute for Bulgarian Language, Bulgarian Academy of Sciences PUBLICATION AND CATALOGUING INFORMATION Title: Proceedings of the Second International Conference Computational Linguistics in Bulgaria (CLIB 2016) ISSN: 23675675 (online) Published and The Institute for Bulgarian Language Prof. Lyubomir distributed by: Andreychin, Bulgarian Academy of Sciences Editorial address: Institute for Bulgarian Language Prof. Lyubomir Andreychin, Bulgarian Academy of Sciences 52 Shipchenski prohod blvd., bldg. 17 Sofia 1113, Bulgaria +359 2/ 872 23 02 Copyright of each paper stays with the respective authors. The works in the Proceedings are licensed under a Creative Commons Attribution 4.0 International Licence (CC BY 4.0). Licence details: http://creativecommons.org/licenses/by/4.0 Proceedings of the Second International Conference Computational Linguistics in Bulgaria 9 September 2016 Sofia, Bulgaria PREFACE We are excited to welcome you to the second edition of the International Conference Computational Linguistics in Bulgaria (CLIB 2016) in Sofia, Bulgaria! CLIB aspires to foster the NLP community in Bulgaria and further the cooperation among researchers working in NLP for Bulgarian around the world. The need for a conference dedicated to NLP research dealing with or applicable to Bulgarian has been felt for quite some time. We believe that building a strong community of researchers and teams who have chosen to work on Bulgarian is a key factor to meeting the challenges and requirements posed to computational linguistics and NLP in Bulgaria. -
Package 'Systemfonts'
Package ‘systemfonts’ May 11, 2021 Type Package Title System Native Font Finding Version 1.0.2 Maintainer Thomas Lin Pedersen <[email protected]> Description Provides system native access to the font catalogue. As font handling varies between systems it is difficult to correctly locate installed fonts across different operating systems. The 'systemfonts' package provides bindings to the native libraries on Windows, macOS and Linux for finding font files that can then be used further by e.g. graphic devices. The main use is intended to be from compiled code but 'systemfonts' also provides access from R. License MIT + file LICENSE Encoding UTF-8 RoxygenNote 7.1.1 Depends R (>= 3.2.0) SystemRequirements c(``C++11'', ``\{}n fontconfig'', ``\{}n freetype2''), C++11 Suggests testthat (>= 2.1.0), covr, knitr, rmarkdown, tools VignetteBuilder knitr URL https://github.com/r-lib/systemfonts BugReports https://github.com/r-lib/systemfonts/issues LinkingTo cpp11 (>= 0.2.1) NeedsCompilation yes Author Thomas Lin Pedersen [aut, cre] (<https://orcid.org/0000-0002-5147-4711>), Jeroen Ooms [aut] (<https://orcid.org/0000-0002-4035-0289>), Devon Govett [aut] (Author of font-manager), RStudio [cph] Repository CRAN Date/Publication 2021-05-11 12:10:05 UTC 1 2 font_fallback R topics documented: font_fallback . .2 font_feature . .3 font_info . .5 glyph_info . .6 match_font . .7 register_font . .8 register_variant . .9 reset_font_cache . 11 shape_string . 11 string_metrics_dev . 14 string_width . 15 string_widths_dev . 16 str_split_emoji . 17 system_fonts . 18 Index 19 font_fallback Get the fallback font for a given string Description A fallback font is a font to use as a substitute if the chosen font does not contain the requested characters. -
USER MANUAL SWASH Version 7.01
SWASH USER MANUAL SWASH version 7.01 SWASH USER MANUAL by : TheSWASHteam mail address : Delft University of Technology Faculty of Civil Engineering and Geosciences Environmental Fluid Mechanics Section P.O. Box 5048 2600 GA Delft The Netherlands website : http://www.tudelft.nl/swash Copyright (c) 2010-2020 Delft University of Technology. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back- Cover Texts. A copy of the license is available at http://www.gnu.org/licenses/fdl.html#TOC1. iv Contents 1 About this manual 1 2 Generaldescriptionandinstructionsforuse 3 2.1 Introduction................................... 3 2.2 Background,featuresandapplications . ...... 3 2.2.1 Objectiveandcontext ......................... 3 2.2.2 Abird’s-eyeviewofSWASH. 4 2.2.3 ModelfeaturesandvalidityofSWASH . 7 2.2.4 Relation to Boussinesq-type wave models . .... 8 2.2.5 Relation to circulation and coastal flow models. ...... 9 2.3 Internal scenarios, shortcomings and coding bugs . ......... 9 2.4 Unitsandcoordinatesystems . 10 2.5 Choiceofgridsandtimewindows . .. 11 2.5.1 Introduction............................... 11 2.5.2 Computationalgridandtimewindow . 12 2.5.3 Inputgrid(s)andtimewindow(s) . 13 2.5.4 Input grid(s) for transport of constituents . ...... 14 2.5.5 Outputgrids .............................. 15 2.6 Boundaryconditions .............................. 16 2.7 Timeanddatenotation ............................ 17 2.8 Troubleshooting................................. 17 3 Input and output files 19 3.1 General ..................................... 19 3.2 Input/outputfacilities . .. 19 3.3 Printfileanderrormessages . .. 20 4 Description of commands 21 4.1 Listofavailablecommands. -
Towards Kurdish Text to Sign Translation
Proceedings of the 9th Workshop on the Representation and Processing of Sign Languages, pages 117–122 Language Resources and Evaluation Conference (LREC 2020), Marseille, 11–16 May 2020 c European Language Resources Association (ELRA), licensed under CC-BY-NC Towards Kurdish Text to Sign Translation Zina Kamal, Hossein Hassani University of Kurdistan Hewlêr, University of Kurdistan Hewlêr Kurdistan Region - Iraq, Kurdistan Region - Iraq {z.kamal3, hosseinh}@ukh.edu.krd Abstract The resources and technologies for sign language processing of resourceful languages are emerging, while the low-resource languages are falling behind. Kurdish is a multi-dialect language, and it is considered a low-resource language. It is spoken by approximately 30 million people in several countries, which denotes that it has a large community with hearing-impairments as well. This paper reports on a project which aims to develop the necessary data and tools to process the sign language for Sorani as one of the spoken Kurdish dialects. We present the results of developing a dataset in HamNoSys and its corresponding SiGML form for the Kurdish Sign lexicon. We use this dataset to implement a sign-supported Kurdish tool to check the accuracy of the sign lexicon. We tested the tool by presenting it to hearing-impaired individuals. The experiment showed that 100% of the translated letters were understandable by a hearing-impaired person. The percentages were 65% for isolated words, and approximately 30% for the words in sentences. The data is publicly available at https://github.com/KurdishBLARK/KurdishSignLanguage for non-commercial use under the CC BY-NC-SA 4.0 licence. -
The Impact of the Historical Development of Typography on Modern Classification of Typefaces
M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. -
Local Gothic SCHWARTZCO Local Gothic ABOUT Vllg.Com
vllg.com LoCAL Gothic SCHWARTZCO Local Gothic ABOUT vllg.com Details / 2005 GIORGIO SANS was designed by Christian Schwartz. It is available as a cross-platform, feature-rich OpenType font. Giorgio Sans is available in Roman & Italic with eight feature-rich weights with plenty of stylistic alternates. Please contact us for information on webfonts licensing. SUPPORTED LANGUAGES SO 8859–1 / LATIN 1 Local Gothic offers extensive language support… Afrikaans, Albanian, Basque, Breton, Catalan, Danish, English (UK & US), Faroese, Galician, German, Icelandic, Irish (new orthography), Italian, Kurdish (The Kurdish Unified Alphabet), Latin (basic classical orthography), Leonese, Luxembourgish (basic classical orthography), Norwegian (Bokmål & Nynorsk), Occitan, Portuguese (Portuguese & Brazilian), Rhaeto-Romanic, Scottish Gaelic, Spanish, Swahili, Swedish & Walloon ISO 8859–2 / LATIN 2 Bosnian, Croatian, Czech, German, Hungarian, Polish, Romanian, Serbian (when in the Latin script), Slovak, Slovene, Upper Sorbian & Lower Sorbian ISO 8859–3 / LATIN 3 Esperanto, Maltese, Turkish ISO 8859–4 / LATIN 4 Estonian, Latvian, Lithuanian, Greenlandic & Sami ISO 8859–9 / LATIN 5 Turkish ISO 8859–10 / LATIN 6 Nordic languages SCHWARTZCO Local Gothic ABOUT vllg.com Local Gothic / page 1 of 3 WHILe i wAS iN COllEge i ToOk several cLasseS at pittsbuRgh FILmmakers, aND i HAd to wALK By A rallY’S HaMBuRGEr sTANd to get theRe. tHeIr SigN wAS amazing — it LOOked lIke they had bouGht theIr mOvaBle LETTerS ON thrEE or four SEpARate occasionS and DiDN’T CaRe that THeY didn’T mAtcH. IT gaVE me AN ideA For a veRY DIstressed typEFace that was made up Of comPletEly UndIstressed characTERs. tHe uNeveN texture Would Only be ApPareNT if You Looked at mULtiPLe characterS aT a TIme. -
Adobe Garamond Pro
Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.