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Language Personalities

Language Personalities. Let's Play . . . Guess the Language!. EN TI-KRAMPOUEZH Ar mevel o komz ouzh Soaz. M. ― Salud deoc'h. Petra ho po da zebriñ? S. ― Da gentañ, ur grampouezhenn ed-du, gant ognon ha tomatez, mar plij. M. ― Mat-tre, ha petra ho po goude?

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Language Personalities

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  1. LanguagePersonalities

  2. Let's Play . . . Guess the Language!

  3. EN TI-KRAMPOUEZH Ar mevel o komz ouzh Soaz. M. ― Salud deoc'h. Petra ho po da zebriñ? S. ― Da gentañ, ur grampouezhenn ed-du, gant ognon ha tomatez, mar plij. M. ― Mat-tre, ha petra ho po goude? S. ― Ur grampouezhenn gwinizh gant mel. M. ― Ha petra ho po d'evañ? Chistr? S. ― N'em bo ket chistr. Laezh-ribod am bo, mar plij. M. ― Kafe ho po goude? S. ― N'em bo ket. Met ur banne te am bo.

  4. Let's Play . . . Guess the Language! Round 2

  5. Kurssi koostuu eri aihepiirien teksteistä, jotka on jaettu lyhyisiin kappaleisiin. Kunkin kappaleen lopussa on ymmärtämistä testaavia monivalintatehtäviä. Kappaleisiin sisältyvät myös sanastot ja kielioppiosuudet. Yhteistä sanastoa täydentää vielä kattava yleisimpien verbien (yli 600) eri muodot sisältävä luettelo.

  6. Let's Play . . . Guess the Language! Round 3

  7. Language Personalities How the Interplay of Phonology, Phonotactics and Morpho-phonology Creates a Linguistic Aesthetic

  8. “The liquid vowels of the Polynesian tongues conjure up visions of loveliness and languor, full moon and bright lagoon. Contrariwise, the gutturals of the German language sound, to a non-German, as harsh and forbidding as winter in the Black Forest. The swoops and swirls of Persian script seem, to a Westerner, as voluptuous and sensual as the quatrains of Omar Khayyám. But Goethe wrote tender and lyrical word-music in German, and Persian is prosaically utilitarian for keeping the accounts of Iranian oil companies. The personality of a language, like that of a man, is the sum of many things not always apparent to the casual eye or ear.” — Gary Jennings, Personalities of Language

  9. “While the national language of a people has its own personality, a Sprachgefühl distinct from even closely related tongues, it is at the same time a complex of sublanguages—regional dialects, trade jargons and the like—each of which has its own idiosyncrasies. Take a New York stockbroker and an Alabama share-cropper…or for that matter, any teen-ager and his grandfather. Each pair speaks one national language, but with worlds-apart difference.”

  10. —Džíčet? —Nàà. —Tskwît. —Wadžavin máin? —Haubau’tái? —Kêj. ― Did you eat yet? ― No. ― Let’s go eat. ― What did you have in mind? ― How about Thai? ― OK. (SBA) Supposedly she’s an heiress or something like that. (Teen) She’s like s’posed to be a fucking heiress or some shit.

  11. Phonoaesthetics Phonasthetics is the reason that Aragorn, having defeated the evil lord of Mordor, becomes King of the West and takes the nameElessar Telcontar, rather than having defeated the evil lord ofAiluanyemarëand being crowned under the nameKratchmurg Brogzdoodle.

  12. CONSONANT INVENTORY OF UBYKH

  13. Qui a dit que les chiens nepouvaient pas apprendre à parler?

  14. çççççwçwçwçwçwůůůůůůšwšwšwšwšwšwššššššççççwçwçwçççççwçwçwçwçwůůůůůůšwšwšwšwšwšwššššššççççwçwçw pššššššçççççççkšššššssss

  15. say ma new poo come bun we noon sum pa frond Vaughn deer day parole Noon sum pa frond say ma new poo Vaughn deer day parole come bun we. Nous ne sommes pas français, ma nous pouvons dire des paroles comme “bonne nuit.”

  16. y eu haute ou cette à août tout pis comme somme faim me sou est-ce? te heure ne (n’) Aix pleurent heure Y eu haute ou cette à août tout pis comme somme faim me sou est-ce te heure n’Aix pleurent heure. You ought to set out to become some famous Western explorer.

  17. Ailles ou ans tout crié te Cannes langue tout.

  18. CREATING A PHONAESTHETIC “FEEL” FOR YOUR CONLANG Fundamental questions re phoneme inventories: • Distribution of front vowels vs. back vowels • Front vowels: To round or not to round? / 2, 9, Y, y / • Schwa or no schwa? • /j/ and /w/ onsets (rising diphthongs) after consonants • “Guttural” sounds? / x, q, X, R, R\, H / • Affricates or no affricates? • Glottal stop? • Secondary articulations or not? palatalization, labialization, gemination, rhotacization, pharyngealization, ejectivization, aspiration, nasalization • Exotic phonemes: /K/ /M\/

  19. CREATING A PHONAESTHETIC “FEEL” FOR YOUR CONLANG Phonotactic Patterns and Constraints • Frequency of front vs. back vowels; should I have vowel harmony? • Frequency of rounded front vowels • Frequency of /j/ and /w/ onsets following consonants • Frequency of sibilants and other fricatives • Syllable Structure: CV vs. CVC vs. CCVCC, etc. • Ratio of open syllables to closed syllables

  20. CREATING A PHONAESTHETIC “FEEL” FOR YOUR CONLANG Vowels: • Diphthongs? • Dyssyllabic vowel conjuncts? • Allophony: Ubykh has 10 or 11 audible vowel phones but only two vowel phonemes. Consonants: • Key concept is phonetic assimilation • Complexity and variety of consonant clusters

  21. CREATING A PHONAESTHETIC “FEEL” FOR YOUR CONLANG • Influence of semivowels: diphthongs • Heterogenous consonant conjuncts , e.g.,septiembre – settembre – setembre • Effect of liquids: Latin root clam- cllam-,llam- ,cham- • Metathesis and apocope, e.g., pericolo – peligro – perigo

  22. CREATING A PHONAESTHETIC “FEEL” FOR YOUR CONLANG Morpho-phonology: • Reduplication, vowel loss (syncope, apocope, aphaeresis), epenthesis • Vocalic mutation: umlaut/ablaut, diphthongization, dyssyllabification • Consonantal mutation: nasal, rhotic, lateral, fricativization, voicing/devoicing, gemination • Sandhi and juncture rules: assimilation again • Stress shifts • Tone shifts / tone sandhi

  23. ir ‘to go’ = ( )-ir = ( ) + INFINITIVE yendo ‘going’ = ( )-iendo = ( ) + GERUND id ‘go!’ = ( )-id = ( ) + 2nd PLURAL IMPERATIVE venir ‘to come’ ven ‘come!’ = ven-( ) = ‘come’ + 2nd SG. IMPERATIVE

  24. “¡Ven!” “¡ !”

  25. Ámpyë hêth olwae tarasentela periorië. Apo ket olua taraskentel brihaprai. Happói yeutta ööhlü traθkãčeł bžöfré.

  26. Can you figure out the steps to get to this one? Wepp’wa hé’èeyat ówàay t’alàaskwenné’ew i’lispwa’hàay. Apo ket olua taraskentel brihaprai. Pho’ qetlh ûrwagh třašqetnálh gridzo’přââ.

  27. Verdurian – Mark Rosenfelder So hepdën pirei esë Piro esë e fascotene uestu. E so sanno Buyelei, im dáluan Verdúrë. Eluá, mun racontretu, er lelmo tal fascotene e. Scúreden, zet ečite fruece er hicete soem bouem pro utron. Eššane ti-velec atüčy velne ana is can nočín. Širden, rihe soa dumora domei cum hozënán taë er miran esë. Oce lyö faše er mis dy eu trodonecî, dy e gašul uestu, dy deve vagir soi ďiteli com precun feyämán. Nikto řo nime cuesan eta so lešel šualië, escatelië er vinei lië.

  28. amman îarby David Bell i rîellisse életh an alanin erthendelon.The girl kissed him. alan életh an nerin erhiron narnen. He told me a story. alan életh áni dais cûos erechöiron i daurar. He killed the tiger with a bow in the forest.

  29. Minhast by Nick Campanilla Phonology: Egyptian Colloquial Arabic, Persian, Akkadian, Korean. Grammar/Syntax: Iroquoian, Ainu, Yupik, Georgian, Arabic, Persian, Basque, Tagalog, Ilocano

  30. Rrldhla by Tom Corcoran Estyesh jye lhrrln nal chrr nrr rrpludh egeik lrrzbagrrn: rmp rhaolh, jye mrlelhrthr nrr ye'rr tu zdhu estyesh tu rrshle. Estyesh na m'mrlelhrthr rngrrl trr oimrrzdhye kla chrr'r la'rrstae'in, estyesh na m'zboi kla trr rgya chrr'r la'rrstae'in.

  31. Hwaerd Raaz by Durandal Brytting Hwa! C'prex'rraa, b'lac drrang'loc fece jonte, cadz'dz' kloc flec ruc gorrontruk te borgarj farex.You smell dreadful, as if you have spent the last weeks rolling around in rotting camel corpses and the excrement of elephants.Hwa! Barc'gl þutte ruc an tomp el c'lodz, þu j'lep j'mekrunt.Drown yourself in a vat of mud, you worthless sack of fat.Hwa! Gowecar spoce p'fπ dzamae un þun blec.Your hair frightens little children.

  32. Qþyn|gài by Henrik Theiling

  33. Phonoaesthetics & Music • Suitability of phonotactical patterns to the type of music, e.g., • Samba and Brazilian Portuguese • Soukous and Lingala • Mbalax and Wolof

  34. Phonoaesthetics & Music • On the Conlang front: • Christian Vander’s Magma and Kobaian

  35. Phonoaesthetics & Music • Poor “fit” between music and language, e.g., • Rap/hip-hop and French • Renaissance polyphonic liturgical music and Latin Loquebantur variis linguis apostoli, alleluia. Magnalia Dei, alleluia.

  36. Phonoaesthetics & Music • The Ultimate Language for Song

  37. Po vdes nga etja pranë një burimi, Kur zjarri ndizet, dhëmb mbi dhëmb kërcet, Djeg zhegu, dridhet buza nga thëllimi, Në vendin tim jam si në vend të shkretë. Si krimb i çveshur, veshur porsi mbret, Mes lotësh qeshem dhe me shpresa rri, Mua më jep zemër veç dëshpërimi i zi. Dëfrehem dhe asgjë nuk më gëzon. I fortë jam — pa forcë, pa fuqi. Kudo më presin, gjithëkush më zbon.

  38. LanguagePersonalities

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