Why Learning to Read Is Easier in Welsh Than in English: Orthographic Transparency Effects Evinced with Frequency-Matched Tests
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Annual Report 2012 Adroddiad Blynyddol 2012
ANNUAL REPORT 2012 ADRODDIAD BLYNYDDOL 2012 CONTEMPORARY ART SOCIETY FOR WALES CYMDEITHAS CELFYDDYD GYFOES CYMRU T H E A L B A N Y G A L L E R Y Dominic Hills SUMMERMuriel Delahaye -EXHIBITION Gossiping 29 x 25ins, oil2011 on canvas st rd 1SUMMER July – 3 EXHIBITIONSeptember An exhibition of work by more than 70 artists 28th June - 10th August 2013 A changing exhibition of work by more than 50 artists Diagonal Shadow 65 x 120cms egg tempera CERI AUCKLAND DAVIES CERI AUCKLAND DAVIES 13th September - 5th October 2013 9th September – 1st October For images and74b details Albany ofRoad, future Cardiff, exhibitions, CF24 3RS view our website T: 029www.albanygallery.com 2048 7158 E: [email protected] W:www.albanygallery.com Gallery open: Monday – Saturday 10am – 5pm, Sundays and Bank Holidays 11am – 4pm 74b Albany Road, Cardiff CF24 3RS T: 029 2048 7158 E: [email protected] Gallery open: Monday - Saturday 10am - 5pm, Sundays and Bank Holidays 11am - 4pm contemporary art society for wales cymdeithas celfyddyd gyfoes cymru Charity No: 247947 OFFICERS OF THE SOCIETY AT 31st DECEMBER 2012 Patron The Right Honourable The Earl of Snowdon President Professor Bryan Hibbard Past President Mrs Betty Evans Vice Presidents Mr Ken Spurlock MBE Mrs J M Rees-Mathews ✝ Mr Peter Clee Dr Tudor Jones Bernard H Rees Chairperson Dr Chris Evans Vice Chairperson 1 Mr John Fitzgerald OBE Treasurer Mr Gwyn Stone Events Secretary Mrs Sian Williams Membership Secretary Dr Dan Evans Mulberry Lodge, 3 Pencisely Rd, Llandaff, Cardiff CF5 1DG Tel:02920 226029 Email:[email protected] -
The Lexicographical Contribution to Welsh
Coping with an expanding vocabulary: the lexicographical contribution to Welsh Abstract The Welsh language, as a lesser-used language with English as an immediate neighbour, has inevitably borrowed much of its vocabulary from that language (or its precursors) as well as inheriting a considerable vocabulary from Latin via Brythonic. Welsh lexicography dates back to at least the 15th-century bardic glossaries and the first Welsh dictionary was printed in the mid-16th century. Most Welsh dictionaries are bilingual with either Latin or English, and Welsh lexicographers have been surprisingly influential in the development of the lexicon with many of their neologisms being adopted into the modern lexicon. Modern prescriptive lexicography and terminology have tended to promote what some linguists deride as a ‘purist’ approach but which has in fact proved to be a practical solution which has succeeded in expanding the vocabulary in a way acceptable to many speakers. Inevitably, since all are fully bilingual, Welsh speakers in Wales have continued to borrow vocabulary extensively from English. 1. Introduction Yr ydym wedi bod yn rhy selog o lawer, yn y dyddiau a fu, yn dyfeisio geiriau newydd am bob dim …, gan dybied mai iaith bur yw iaith a’i geiriau’n perthyn dim i eiriau’r un iaith arall. Ffolineb yw hynny: y mae gan bob iaith allu i fabwysiadu geiriau estronol yn eiriau iddi ei hun. Ac y mae yr iaith Gymraeg wedi mabwysiadu cannoedd o eiriau Lladin a geiriau Saesneg erioed, ac y maent yn eitha-geiriau Cymraeg erbyn hyn. Y prawf o air Cymraeg yw, a arferir ef gan y bobl ai peidio? os y gwneir, y mae yn air Cymraeg; os na wneir, nid yw. -
A TIME for May/June 2016
EDITOR'S LETTER EST. 1987 A TIME FOR May/June 2016 Publisher Sketty Publications Address exploration 16 Coed Saeson Crescent Sketty Swansea SA2 9DG Phone 01792 299612 49 General Enquiries [email protected] SWANSEA FESTIVAL OF TRANSPORT Advertising John Hughes Conveniently taking place on Father’s Day, Sun 19 June, the Swansea Festival [email protected] of Transport returns for its 23rd year. There’ll be around 500 exhibits in and around Swansea City Centre with motorcycles, vintage, modified and film cars, Editor Holly Hughes buses, trucks and tractors on display! [email protected] Listings Editor & Accounts JODIE PRENGER Susan Hughes BBC’s I’d Do Anything winner, Jodie Prenger, heads to Swansea to perform the role [email protected] of Emma in Tell Me on a Sunday. Kay Smythe chats with the bubbly Jodie to find [email protected] out what the audience can expect from the show and to get some insider info into Design Jodie’s life off stage. Waters Creative www.waters-creative.co.uk SCAMPER HOLIDAYS Print Stephens & George Print Group This is THE ultimate luxury glamping experience. Sleep under the stars in boutique accommodation located on Gower with to-die-for views. JULY/AUGUST 2016 EDITION With the option to stay in everything from tiki cabins to shepherd’s huts, and Listings: Thurs 19 May timber tents to static camper vans, it’ll be an unforgettable experience. View a Digital Edition www.visitswanseabay.com/downloads SPRING BANK HOLIDAY If you’re stuck for ideas of how to spend Spring Bank Holiday, Mon 30 May, then check out our round-up of fun events taking place across the city. -
Salient Features of the Welsh Accent That Are Chosen to Be Portrayed in Film
MA Language and Communication Research Cardiff University Salient Features of the Welsh Accent that are Chosen to be Portrayed in Film Andrew Booth C1456511 Supervisor: Dr Mercedes Durham Word Count: 16,448 September 2015 Abstract The accent portrayed by an actor in films has many different implications to the audience. For authenticity, the filmmakers need their accent to be as close to genuine speech as possible. The Welsh-English accent in film is portrayed in many different ways; the aim of this study is to investigate which features are viewed as salient to filmmakers when portraying a Welsh accent. This dissertation focuses the portrayal of salient features of the Welsh-English accent in the film Pride (2014). Pride was chosen because it can compare Welsh to non-Welsh actors who portray a Welsh-English accent. The research is carried out on the film using both auditory and acoustic analysis. Tokens from the film were coded in terms of their realisations for analysis and comparison to previous literature. This research produced a number of key findings: first, the Welsh actors supported previous research on patterns of realisation for Welsh-English. Second, the non-Welsh actors recognised and produced the key features of a Welsh-English accent. Finally, the features presented are salient when representing a Welsh accent in film. In summary, theories such as accommodation, language transference, hypercorrection, fudging and transition were used to explain variation of accents. This research argues for a multi- methodological approach to analysing different features of a Welsh-English accent in film. ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr Mercedes Durham for her instrumental advice and insight over the past few months. -
The Welsh Conservative Party and the National Assembly of Wales 1997
MSc (Econ) Department of International Politics, Aberystwyth University Submitted in partial fulfilment of the requirements for the degree of: MSc (Econ) Welsh Politics & Society (RT) The Welsh Conservative Party and the National Assembly of Wales 1997 – 2010 Kristian Hicks P a g e | 1 Abstract The Conservative Party in Wales has undergone a great deal of change since the creation of the National Assembly in 1999. As a party that vociferously opposed the passing of any devolution settlement,1 the ‘Yes’ outcome of the devolution referendum would push the party into a crisis of relevancy. How exactly does a conservative deal such changes in the structure of a political system? What are the environmental push-pull factors and themes that emanate from such a change?2 This dissertation seeks to explore such questions and also communicates the experiences of the Welsh Conservative party in the age of devolution. The structure of this dissertation is chronological in nature.3 It begins with the experiences of the Conservatives in the first assembly onwards to the present at the time of writing (2010). A myriad of materials will be utilised from the works of Conservative philosophers, specialists in devolution specifically of the Welsh form4, works on Welsh history and journalistic articles. 1 John Major, You can only be sure with the Conservatives, Conservative and Unionist Party Manifesto, 1997, P. 1 2 These themes include party leadership, the relationship between the Welsh and National party and the philosophy of conservatism as applied to institutional change amongst others. 4 Especially through the findings of the devolution monitoring reports. -
Running Head: ORTHOGRAPHIC DEPTH and ORTHOGRAPHIC PROCESSING 1
Running head: ORTHOGRAPHIC DEPTH AND ORTHOGRAPHIC PROCESSING 1 This is a post-peer-review, pre-copyedit version of an article accepted in "Reading and Writing". The final authenticated version will be available at link.springer.com. The Effect of Orthographic Depth on Letter String Processing: The Case of Visual Attention Span and Rapid Automatized Naming Alexia Antzaka (ORCID iD: 0000-0002-3975-1122) Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Departamento de Lengua Vasca y Comunicación, UPV/EHU, 48940, Leioa, Spain Clara Martin (ORCID iD: 0000-0003-2701-5045) Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Ikerbasque, Basque Foundation for Science, 48013, Bilbao, Spain Sendy Caffarra (ORCID iD: 0000-0003-3667-5061) Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Sophie Schlöffel Running head: ORTHOGRAPHIC DEPTH AND ORTHOGRAPHIC PROCESSING 1 Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Departamento de Lengua Vasca y Comunicación, UPV/EHU, 48940, Leioa, Spain Manuel Carreiras (ORCID iD: 0000-0001-6726-7613) Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Departamento de Lengua Vasca y Comunicación, UPV/EHU, 48940, Leioa, Spain Ikerbasque, Basque Foundation for Science, 48013, Bilbao, Spain Marie Lallier (ORCID iD: 0000-0003-4340-1296) Basque Center on Cognition, Brain and Language, 20009, San Sebastián, Spain Author note The authors acknowledge financial support from the Basque Government (PRE_2015_2_0049 to A.A, PI_2015_1_25 to C.M, PRE_2015_2_0247 to S.S), the European Research Council (ERC-2011-ADG-295362 to M.C.), the Spanish Ministry of Economy and Competitiveness (PSI20153653383P to M.L., PSI20153673533R to M. -
Old and Middle Welsh David Willis ([email protected]) Department of Linguistics, University of Cambridge
Old and Middle Welsh David Willis ([email protected]) Department of Linguistics, University of Cambridge 1 INTRODUCTION The Welsh language emerged from the increasing dialect differentiation of the ancestral Brythonic language (also known as British or Brittonic) in the wake of the withdrawal of the Roman administration from Britain and the subsequent migration of Germanic speakers to Britain from the fifth century. Conventionally, Welsh is treated as a separate language from the mid sixth century. By this time, Brythonic speakers, who once occupied the whole of Britain apart from the north of Scotland, had been driven out of most of what is now England. Some Brythonic-speakers had migrated to Brittany from the late fifth century. Others had been pushed westwards and northwards into Wales, western and southwestern England, Cumbria and other parts of northern England and southern Scotland. With the defeat of the Romano-British forces at Dyrham in 577, the Britons in Wales were cut off by land from those in the west and southwest of England. Linguistically more important, final unstressed syllables were lost (apocope) in all varieties of Brythonic at about this time, a change intimately connected to the loss of morphological case. These changes are traditionally seen as having had such a drastic effect on the structure of the language as to mark a watershed in the development of Brythonic. From this period on, linguists refer to the Brythonic varieties spoken in Wales as Welsh; those in the west and southwest of England as Cornish; and those in Brittany as Breton. A fourth Brythonic language, Cumbric, emerged in the north of England, but died out, without leaving written records, in perhaps the eleventh century. -
Y in Medieval Welsh Orthography Sims-Williams, Patrick
Aberystwyth University ‘Dark’ and ‘Clear’ Y in Medieval Welsh Orthography Sims-Williams, Patrick Published in: Transactions of the Philological Society DOI: 10.1111/1467-968X.12205 Publication date: 2021 Citation for published version (APA): Sims-Williams, P. (2021). ‘Dark’ and ‘Clear’ Y in Medieval Welsh Orthography: Caligula versus Teilo. Transactions of the Philological Society, 1191, 9-47. https://doi.org/10.1111/1467-968X.12205 Document License CC BY-NC-ND General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. tel: +44 1970 62 2400 email: [email protected] Download date: 28. Sep. 2021 Transactions of the Philological Society Volume 1191 (2021) 9–47 doi: 10.1111/1467-968X.12205 ‘DARK’ AND ‘CLEAR’ Y IN MEDIEVAL WELSH ORTHOGRAPHY: CALIGULA VERSUS TEILO By PATRICK SIMS-WILLIAMS Aberystwyth University (Submitted: 26 May, 2020; Accepted: 20 January, 2021) ABSTRACT A famous exception to the ‘phonetic spelling system’ of Welsh is the use of <y> for both /ǝ/ and the retracted high vowel /ɨ(:)/. -
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ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters . -
A Critical Analysis of the Role of Community Sport in Encouraging the Use of the Welsh Language Among Young People Beyond the School Gate
A critical analysis of the role of community sport in encouraging the use of the Welsh language among young people beyond the school gate Lana Evans Thesis submitted to Cardiff Metropolitan University in fulfilment of the requirement for the degree of Doctor of Philosophy at Cardiff School of Sport and Health Sciences, Cardiff Metropolitan University, Cardiff April 2019 Director of Studies: Dr Nicola Bolton Supervisors: Professor Carwyn Jones, Dr Hywel Iorwerth Table of Contents ACKNOWLEDGEMENTS ................................................................................................................................ I ABSTRACT ....................................................................................................................................................... II PEER-REVIEWED PUBLICATIONS ............................................................................................................. III CHAPTER ONE INTRODUCTION INTRODUCTION..................................................................................................................................................... 1 BACKGROUND ...................................................................................................................................................... 2 The Regression of the Welsh Language during the Twentieth Century ......................................................... 2 Political Attempts to Reverse the Decline ..................................................................................................... -
Welsh on The
Technical Report No: 2003/16 Issues in Creating HTML Pages with Welsh or bilingual Content John Dyke 26 November 2003 Department of Computing Faculty of Mathematics and Computing The Open University Walton Hall, Milton Keynes MK7 6AA United Kingdom http://computing.open.ac.uk l Issues in Creating HTML Pages with Welsh or bilingual Content John Dyke Summary Using utf-8 encoding web pages in HTML, XHTML or XML can contain all the letters used in Welsh including all of the diacritical marks used. These pages are rendered and display correctly on Microsoft's Internet Explorer from version 4 onwards and Netscape's browser from version 4. Opera supports all of the characters correctly from version 6 albeit with font substitution occurring for some of the less frequently used diacritical marks on w and y: the acen grom, the most frequently used diacritical mark, is rendered correctly. Opera's version 5.12 provides a reasonably good coverage. It displays the vowels a,e,i,o and u correctly with all diacritical marks but renders w, W, y and Y without an acen grom but produces blanks for the other less frequently used diacritical marks used over these characters. For wider support on older browsers, named character entities should be used for the characters a, e, i, o and u with diacritical marks. The remaining vowels w and y should coded either without diacritical marks or by some other representation e.g. the character followed by the diacritical mark (w^ in place of ŵ) The language used on a page should be denoted by using the lang attribute in the HTML mark up. -
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ARTS n jr. J .r . The Arts Council of Grea t Britain was formed in August 1946 to continue in peacetim e the work begun with Government support by th e Council for the Encouragement of Music and the Arts. The Arts Council operates under a revised Royal Charter granted in 1967 in which its objects are stated as : (a) to develop and improve th e knowledge, understanding an d practice of the arts ; (b)to increase the accessibilit y of the arts to the public throughout Great Britain ; (c) to advise and co-operat e with departments of government, local authoritie s and other bodies . The Arts Council, as a publicl y S3 accountable body, publishes a n ro annual report and accounts t o a n provide Parliament and th e general public with an overview e 3 Front coeari Ttra renovated AUmmbre of the year 's work . Theatre, Bradford . The ar" are rogeaerating Bradford as "the City of Er*00"lnnrenk an.ee"ns ►aurisre and bariaees. The rota of the arts as cololysts for urban rerrerrel 4 discussed In John Davison's or"* a s the Arts Council's urfaen Renaissance ro"WEl9e. Chairmen's iMroduelion 2 Lord flees-Mogg reflects on his seven years at the Arts Counci l Secretary-Genewl's report 4 Luke Rittner highlights the issue s and achievements of 19$1/8 8 Arts review b Departmental reports on policies which promoted the arts during 1487/88 Special reporfs Appraisals How the Arts Council appraises its 26 clients, and why. by Lynda Murdi n Nubian renaissance The role the 28 arts are playing in regenerating the inner cities .