Archive for the ‘resources’ Category

Development Update

Thursday, May 2nd, 2013

OK, Kalaajur has been scrapped. But long live Kalaajur! I noticed that I can without problems include the word Kalaajur into my new phonology. I haven’t decided whether the language will be called like that, but the word will surely be included.
Also, I decided to have a “resources” section in which I review resources for conlanging. That’s because I rarely read them nor even look into them. This could be a way to make me look into resources and have you benefit from it as well! The section will contain anything from conlang grammars and webpages over natlang descriptions to theoretical essays. Criterions will be things like length, readability/visual access and demand on preknowledge (target audience). I have to write a few essays in the next two weeks, but lets hope I won’t be too lazy afterwards to start the whole thing.

— Blogged from my phone.


Srínawésin: Lexicon of Verb Roots and Thesaurus

Wednesday, May 1st, 2013

Madeline Palmer was born in Anchorage, Alaska in 1980 and lived there for most of her life until moving to Washington State, eventually attending the University of Washington, Seattle, earning a double-major degree in linguistics and anthropology. She then attended the New York University as a graduate student in linguistics, focusing primarily upon Celtic languages, a field which has long interested her. The idea for Srínawésin came to her about twenty years ago when she read a novel and began to wonder why dragons never spoke in their language in any story, legend or tale she had read. This thought led to thinking about what their language would sound like and this simple question spawned a lifelong interest in language in general and specifically how a draconic language would sound and function. This paper is the accumulation of all of that work.

Book Abstract

Srínawésin: The Language of the Kindred: A Grammar and Lexicon of the Northern Latitudinal Dialect of the Dragon Tongue
This series of papers sets out to describe and detail Srínawésin, the language spoken by dragons. As part of the paper’s fictional background it is adapted from original notes written by Howard T. Davis, a linguistics student at the University of New York from 1932 to 1937, the author attempts to present this language in a readable form for linguists as well as laypeople to give Mr. Davis’ work as wide an audience as possible. Section I includes an overview of the draconic worldview, mindset, and physical characteristics which give this language several “unique” features. In Sections II through VII the author explains the phonetic sounds which comprise the language, the morphology of the words, the ways in which verbs, nouns, adjectives, adverbs and possessives are created as well as how sentences are constructed in grammatical form according to Davis’ notes. Section VIII includes several dialogues in Srínawésin, songs, legends, poems and discussions between Davis and his sources while Sections IX and X comprise an extensive lexicon, breaking down how words are derived from the original root forms, as well as a thesaurus of root forms according to their class structure.

Section Abstract

Srínawésin: Lexicon of Verb Roots and Thesaurus
To complete Srínawésin: The Language of the Kindred, this final section is a user-friendly lexicon and thesaurus of the Dragon Tongue with approximately one thousand commonly used verb roots listed in alphabetical order. The first part is a lexicon of verb roots with each form of verbal, adjectival, adverbial and noun derivations according to class structure listed for many, but not all of the roots. The second section is a thesaurus listing the original verbal roots as noun-verbs, divided up into sub-sections for each of the thirteen classes of the language. The final part is a thesaurus of verbs divided up into various semantic themes such as Hunting, Stalking and Avoiding; Killing Dying and Eating; Personal Characteristics; Animal Descriptions; Flying Maneuvers and Actions and Living Patterns and Actions. This Lexicon and Thesaurus includes all verbal roots used in Srínawésin: The Language of the Kindred to allow anyone who is interested full access to the language.

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Section VIII: Draconic Speech; Dialogues, Songs and Conversations

Monday, April 1st, 2013

Madeline Palmer was born in Anchorage, Alaska in 1980 and lived there for most of her life until moving to Washington State, eventually attending the University of Washington, Seattle, earning a double-major degree in linguistics and anthropology. She then attended the New York University as a graduate student in linguistics, focusing primarily upon Celtic languages, a field which has long interested her. The idea for Srínawésin came to her about twenty years ago when she read a novel and began to wonder why dragons never spoke in their language in any story, legend or tale she had read. This thought led to thinking about what their language would sound like and this simple question spawned a lifelong interest in language in general and specifically how a draconic language would sound and function. This paper is the accumulation of all of that work.

Book Abstract

Srínawésin: The Language of the Kindred: A Grammar and Lexicon of the Northern Latitudinal Dialect of the Dragon Tongue
This series of papers sets out to describe and detail Srínawésin, the language spoken by dragons. As part of the paper’s fictional background it is adapted from original notes written by Howard T. Davis, a linguistics student at the University of New York from 1932 to 1937, the author attempts to present this language in a readable form for linguists as well as laypeople to give Mr. Davis’ work as wide an audience as possible. Section I includes an overview of the draconic worldview, mindset, and physical characteristics which give this language several “unique” features. In Sections II through VII the author explains the phonetic sounds which comprise the language, the morphology of the words, the ways in which verbs, nouns, adjectives, adverbs and possessives are created as well as how sentences are constructed in grammatical form according to Davis’ notes. Section VIII includes several dialogues in Srínawésin, songs, legends, poems and discussions between Davis and his sources while Sections IX and X comprise an extensive lexicon, breaking down how words are derived from the original root forms, as well as a thesaurus of root forms according to their class structure.

Section Abstract

Section VIII: Draconic Speech; Dialogues, Songs and Conversations
The final section of this paper has no grammar, rules or standards of usage but instead is a presentation of the language itself, as a unified whole. It includes a variety of dialogues in the original Srínawésin and translated into English between Davis and several of his sources such as Moonchild, Bloody Face and Ash Tongue; as well as several draconic songs, poems and lyrical stories which Howard heard during his time among dragonkind. It also includes a variety of draconic “wise sayings,” which inevitably involve various predatory activities, as well as a short section on draconic riddles and word games which take advantage of several unique characteristics of the Language of the Kindred. This final section presents the language and situations that Howard T. Davis experienced and represents the truest accounting of draconic speech possible under the circumstances.

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Section VII: Sentence Structure and Speech Patterns

Friday, March 1st, 2013

Madeline Palmer was born in Anchorage, Alaska in 1980 and lived there for most of her life until moving to Washington State, eventually attending the University of Washington, Seattle, earning a double-major degree in linguistics and anthropology. She then attended the New York University as a graduate student in linguistics, focusing primarily upon Celtic languages, a field which has long interested her. The idea for Srínawésin came to her about twenty years ago when she read a novel and began to wonder why dragons never spoke in their language in any story, legend or tale she had read. This thought led to thinking about what their language would sound like and this simple question spawned a lifelong interest in language in general and specifically how a draconic language would sound and function. This paper is the accumulation of all of that work.

Book Abstract

Srínawésin: The Language of the Kindred: A Grammar and Lexicon of the Northern Latitudinal Dialect of the Dragon Tongue
This series of papers sets out to describe and detail Srínawésin, the language spoken by dragons. As part of the paper’s fictional background it is adapted from original notes written by Howard T. Davis, a linguistics student at the University of New York from 1932 to 1937, the author attempts to present this language in a readable form for linguists as well as laypeople to give Mr. Davis’ work as wide an audience as possible. Section I includes an overview of the draconic worldview, mindset, and physical characteristics which give this language several “unique” features. In Sections II through VII the author explains the phonetic sounds which comprise the language, the morphology of the words, the ways in which verbs, nouns, adjectives, adverbs and possessives are created as well as how sentences are constructed in grammatical form according to Davis’ notes. Section VIII includes several dialogues in Srínawésin, songs, legends, poems and discussions between Davis and his sources while Sections IX and X comprise an extensive lexicon, breaking down how words are derived from the original root forms, as well as a thesaurus of root forms according to their class structure.

Section Abstract

Section VII: Sentence Structure and Speech Patterns
All of the previous sections detailing Srínawésin have involved the way in which the language functioned grammatically, how it was pronounced, how verbs, nouns and adjectives were constructed and how they were modified. This section details not how Srínawésin functions but how it is used in everyday life by its draconic speakers. It includes word ordering, the use of evidential sentence enclitics, disjunctive and conjunctive usages, clauses, question words and speech patterns. It also explains more esoteric concepts such as three-dimensional directions and navigation inherent to a species which can fly, lunar and seasonal names, the various constellations and skywatching terms, poetic and lyrical forms and sensibilities, curses, figures of speech, insults, and various forms of non-verbal communicative strategies used by dragons in their everyday lives. This section ties together all the other more grammatically-based sections and all eight sections give a complete picture of how dragons speak, think, act and use their unique language.

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The Sehlerai Language

Friday, February 1st, 2013

James R. Russell is Mashtots Professor of Armenian Studies at Harvard and worked previously at Columbia and the Hebrew University (Jerusalem, Israel) as professor of pre-Islamic Iranian languages and religions. He is also in Slavic, shamanism, and Rapa Nui studies. He is an artist, book designer, and motorcyclist, and plays the guitar so-so.

Abstract

Sehlerai is an international language invented by the 19th century Armenian polyglot eccentric of Smyrna Bedros Tenger(ian). This is the first substantial study of it in any language, though limited by the paucity of sources (and these are here studied in depth for the first time). Bedros was the only man in the Near East who ever invented a universal language, complete with the idealistic trappings of the Viennese Enlightenment.

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The Contemporary Esperanto Speech Community

Tuesday, January 1st, 2013

Adelina Solis received her bachelor’s degree in linguistics from Scripps College in 2011. This paper was written as part of her fulfillment of her degree. Since then, she has completed a 10-month term as an English teacher in Vietnam through the Fulbright program. She is fluent in English, Spanish, and Italian, and has studied French, Russian, Vietnamese, and American Sign Language. Beyond languages, her interests include art, creative writing, and steak.

Abstract

This study examines the contemporary Esperanto speech community. I begin with a review of the history of universal language movements, the history of language creation, and the development of Esperanto in particular. Then, drawing from 13 interviews with Esperanto speakers and preexisting literature, I address: who comprises the Esperanto speech community, the norms adhered to and ideologies held by members of the speech community, reasons for membership in the speech community, and the speech community’s objectives. Findings show that anyone who speaks the language may be a member of the speech community if they self-identify that way. Speakers are found all over the world, and can be of any age and gender.

Though Dr. Zamenhof’s (Esperanto’s creator) goal for world peace is not critical to the ideology of many contemporary Esperanto speakers, most value the international exchange that participation in the community provides. Some people learn Esperanto because of its founding ideology, while others do because they recognize that with it they can access more people and more information than they could if they did not speak Esperanto. To maximize Esperanto’s effectiveness, it is important to maximize the number of speakers, though current Esperanto speakers disagree about the best way to make this happen.

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2012: The Year in Conlanging

Monday, December 31st, 2012

It seemed to me that there was a flurry of conlang-related activity during the latter part of 2012, so I decided to take a look back and see if any other significant events in conlangs and conlanging took place this past year. Turns out, there were quite a few. I’m sure I forgot any number. Feel free to add others as comments to this post.

Enjoy the list and happy conlanging in 2013!

Another Conlang Holiday Card!

Tuesday, December 25th, 2012

I received my 2nd conlang holiday card in the exchange. This one is from Padraic Brown, with a conlang and a conculture!

The front cover…

BrownCardcover

The inside panel…

BrownCardinside

Translation…

BrownCardexpl1

Concultural explanation…

BrownCardexpl2

Holiday Conlang Card Exchange

Sunday, December 23rd, 2012

I decided to take part in the Holiday Conlang Card Exchange this year and put my submission in for sharing with two people. Of course, this also means I receive cards as well. Here is the card I just received from Sylvia Sotomayor with her Kēlen:

Kelen Holiday Card

This image includes the card (top) and Sylvia’s explanation (bottom). Unfortunately, the green interlace did not come out as nice as I would have liked on my scan, but, nonetheless, it’s a beautiful design… made even cooler by the fact that the interlace design is a script as well! Kēlen is an inspiration. Thanks, Sylvia!

My own cards I sent out are not nearly as polished. Here is the front panel of both (They ended up being tri-fold):

Dritok Holiday Card Covers

These are written in a new script I’ve been devising for my Drushek language known as Dritok (or r’.z*w. in proper transcription style). Before the cards, the script had not seen light outside my notebooks, so, tah dah! The word h:.qs.p*. means “contentment, inner peace, restful mind, etc.”. The segment qs. has to do with “mental states.” The top image has the word written in three different scripts. The full phrase on the bottom image is h:.qs.p*.=D4/I1=D2 and means (roughly) “May contentment be within you” (a customary Drushek greeting and farewell). As some may already know, the D4, I1, and D2 are gestures within the language and h:.qs.p*. is vocalized. I’ve been giving Dritok a lot of thought lately and may be posting more to my (woefully under-utilized) Kryslan blog.

In any case, here’s to a happy holidays to all and may your conlanging projects be fruitful in the coming new year :-)

The Hobbit: An Unexpected Journey – A Review

Monday, December 17th, 2012

SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS!

DID I MENTION SPOILERS!

YOU SHOULD NOT PASS… if you haven’t seen the movie and want to be surprised.

You have been warned…

Okay, the disclaimer is out of the way. Today, I went with the family to see The Hobbit: An Unexpected Journey, the 3-D HFR version. Having now seen it, I’m surprised at the vitriol that’s been heaped on the movie by some (e.g., here and here just to name two). Maybe “vitriol” is too strong a word, but it seems some of the negative press is unwarranted. I’ve also seen Tolkien fans that have written reviews saying they’re not even going to see movies two and three in this trilogy. I’m planning on seeing the next two without question. To me, An Unexpected Journey seemed like a quick three hours. There were some parts that dragged on too long (more on that below) and some superfluous material, but, overall, it kept my attention, didn’t offend my sensitive Tolkien sensibilities (too much – again, see below), and was a fairly enjoyable and entertaining ride. I just have to remember that any shortcomings of the film in no detract from Tolkien’s work and world. The films aren’t canon. They’re based on an interpretation of Tolkien’s work and can stand or fall on their own.

Some of the best parts, in my opinion, in no particular order were:

  • The scenes inside Bilbo’s hobbit hole. These were, for the most part, true to the book (in spirit if not literally). I’ve read some reviews that talk negatively about the dishwashing sequence but found this to be very faithful to the book itself.
  • Elrond showing up in his armor. No, it wasn’t in the book, but it always bothered me that Rivendell was supposed to be this idyllic sanctuary in the mountains. How did it stay safe? Well, it makes sense that Elrond and his house would ride out once in a while to “take care of business” in the neighborhood. Plus we got some Sindarin in here :-)
  • The opening prologue inside and around Erebor. Seeing Thrór, Thráin, and Thorin ensconced in their kingdom and getting a glimpse of Dwarven culture was very interesting. Plus this also gave us a peek at Smaug’s feet and fire. The scene with all the dwarves waiting inside Erebor as flames lick at the front door was very cool.
  • Radagast. Yes, Radagast. As a character design, I thought he worked very well. I have other misgivings about him in the movie, but overall his look and action seemed very in keeping with what I had always thought about the brown wizard.
  • Seeing the progression of Balin from Erebor, to Azanulbizar, to the “present”. The only issue here (literal book-wise) is that Thorin is actually older than Balin: Thorin was 24 when Smaug attacked Erebor; Balin was 7.
  • Gandalf’s look on his face when he finds that Saruman has shown up at Rivendell. I could almost hear a “Oh, man, it’s my boss.”
  • Gollum and riddle game. This was worth seeing the HFR version right here! Gollum is absolutely amazing looking, and Andy Serkis is in full command of bringing Gollum to life.

Before we go any further, let me address the conlanging aspect of the movie. There was some Sindarin in Rivendell. It’s always nice to be able to pick up a word here and there. I got Gandalf’s “Mellon nin!” even before I read the subtitle. Yay, me. I was very disappointed I didn’t hear any Khuzdul (except maybe a snippet from Bifur). However, as I was given a heads-up by Erunno Alcarinollo on Twitter, I expected a lack of Khuzdul and that the orcs seem to be speaking the Black Speech or at least some orcish dialect of it. Interesting turn of events when both the elves and the orcs get subtitles. But it’s not all the orcs. The goblins of the Misty Mountains still speak English with a British accent although they know the ones who speak only Black Speech. (We know this because the Goblin King is going to send a message to the leader of the Black Speech orcs.) And even the Black-Speech-speaking orcs seem to have some auto-tune reverb thing going on with their voices. I am looking forward to some notes online on the Black Speech in the film.

I’m going to assume that Black Speech and Khuzdul maybe sounded too much alike to do them both in the film. Plus, some movie-goers may have said, “Okay, the dwarves were speaking with subtitles before but now they’re speaking in English. What’s up with that? And why are those orcs speaking the dwarves’ language? I don’t get it!” So, I’m going to cut some slack to Peter Jackson and let the Khuzdul go. However, I still want to hear a “Baruk Khazâd! Khazâd aimênu” at the Battle of Five Armies, most likely from the armies of the Iron Hills.

Okay, so that brings us back to this band of Black-Speech-speaking orcs and their leader, Azog. Yes, that Azog. We see him, Thorin, and Balin in the Battle of Azanulbizar. I was really looking forward to this but found the movie adaptation somewhat disappointing. Azog, referred to subsequently in the film as the Pale Orc, becomes the primary antagonist of Thorin & Company because of an extreme hatred of Thorin himself. It seems… SPOILER! again… after Azog beheads Thrór in the battle (not as in the Appendices), Thorin battles the orc chieftain and cuts off the orc’s forearm. Inexplicably, the orcs carry their leader back into Moria, the dwarves claim victory, and Thorin assumes Azog dies. Bad move, Mr. Oakenshield. Azog sticks an iron claw on his forearm (with a nice spike sticking out of his elbow) and swears vengeance on the “Dwarf-scum” or whatever Black Speech phrase means that.

The creation of Azog’s revenge seems to be a superfluous sub-plot for the film. If Peter Jackson did want to have this storyline, it seems a better tactic might have been to have Azog fighting at Azanulbizar with his son Bolg. I don’t know how you show this, but having Azog kill Thrór, then have Thorin kill Azog (yes, I know he didn’t kill Azog but I’ll give them some leeway here), and have Bolg retreat (maybe with the look in his eyes as the orcs of Mordor when the Rohirrim rode down on them in Pelennor Fields in The Return of the King). But showing an orc swearing revenge on someone who slew his father might be ascribing too many emotions to orcs (who are really the expendable Star-Wars-stormtroopers or battle droids of The Lord of the Rings films).

And Azog really does look like a very good CG video game character, but a CG video game character nonetheless. If they were going with an orc antagonist, it would have been nice to see something like Lurtz. I do have to agree with those who have mentioned that aspect of the movie.

I mentioned above that I enjoyed the look and behavior of Radagast. I still stand by that. My only beef with Radagast in the film was the… SPOILER! again… rabbit-sled race to distract the orc band. “These are Rhosgobel rabbits!” I don’t even know what that means? He breeds super rabbits? And the sled just goes around and around, constantly bringing the orcs back to Thorin & Company who finally find a way to escape on their own. And Radagast just disappears then. It’s really Elrond and his elves who get rid of the orcs. So, the sled race went on way too long and, in my opinion, was superfluous in the first place.

Another part that went on a little too long was the Stone-giants scene in the Misty Mountains. I’m fine with them being in the film, but it seemed prolonged and didn’t really move the story forward. A few boulders crashing through the rain and knocking debris down on the company would have been plenty.

Just a brief note on the HFR: It didn’t really thrill me nor distract me. Maybe I’m just jaded from watching HDTV at home. Other than seeing the weave of Bilbo’s shirt and an absolutely stunning, crisp Gollum in all his slimy paleness, the HFR was just fine but nothing to get really worked up about (positively or negatively).

So, as you can see there were some disappointments but some absolutely enchanting moments, too. It could have been a great movie, but it wasn’t a failure as some seem to have suggested. Even with what I know of Peter Jackson’s additions and alterations, I’m still looking forward to seeing The Desolation of Smaug and There and Back Again.