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| author | uakci <uakci@uakci.eu> | 2020-12-19 04:55:30 +0100 |
|---|---|---|
| committer | uakci <uakci@uakci.eu> | 2020-12-19 04:55:30 +0100 |
| commit | d2da853b9eb430679e7238b93996f8e4651a39c1 (patch) | |
| tree | 4cc5fb7f8de6cac99c50048e993c55fc56ff0d55 | |
| parent | new mirror data thanks to kiepier (diff) | |
| download | mirror-old-d2da853b9eb430679e7238b93996f8e4651a39c1.tar.gz mirror-old-d2da853b9eb430679e7238b93996f8e4651a39c1.zip | |
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diff --git a/2004-en-alt/ithkuil-ch-12-numbers.html b/2004-en-alt/ithkuil-ch-12-numbers.html index a53bc60..441719a 100755..100644 --- a/2004-en-alt/ithkuil-ch-12-numbers.html +++ b/2004-en-alt/ithkuil-ch-12-numbers.html @@ -79,7 +79,7 @@ Stems </A></FONT></TD> </TR> <TR> - <TD><FONT size="2"><A href="ithkuil-ch12-numbers.htm#Sec12o3">12.3 Expressing Zero</A></FONT></TD> + <TD><FONT size="2"><A href="ithkuil-ch12-numbers.htm#Sec12o3">12.3 Expressing âZeroâ</A></FONT></TD> </TR> <TR> <TD><FONT size="2"><A href="ithkuil-ch12-numbers.htm#Sec12o4">12.4 Writing Numerals</A></FONT></TD> @@ -110,21 +110,21 @@ are referred to by the number of hundreds plus the number of units, just as a decimal system, beginning with the number 11, refers to the number of tens plus the number of units. However, where a decimal system then shifts to a unit - referring to 100 once 10 tens is reached, a centesimal system + referring to 100 once â10 tensâ is reached, a centesimal system proceeds to the number 10,000 before establishing a new unit reference (i.e., - 100 hundreds). Thus the number 3254, which in a decimal system - is 3 thousands 2 hundreds 5 tens 4 ones, in a centesimal - system becomes 32 hundreds54 ones, and would be only two digits when + â100 hundredsâ). Thus the number 3254, which in a decimal system + is 3 thousands â 2 hundreds â 5 tens â 4 ones, in a centesimal + system becomes 32 hundredsâ54 ones, and would be only two digits when written (the single character representing 32, and the single character representing 54). The details of writing Ithkuil numerals are given below in Section 12.5.</P> <P align="justify">After 100, separate unit numbers and symbols are assigned to - the square of 100 (i.e. ten thousand, that being 100 hundreds), + the square of 100 (i.e. ten thousand, that being â100 hundredsâ), then the square of that number, <IMG src="assets/12-1a.gif" width="29" height="16" align="absmiddle"> (100 million, i.e., 10,000 ten-thousands). The final unit is <IMG src="assets/12-1b.gif" width="28" height="15" align="baseline">, that is, 10 quadrillion or 100 million hundred-millions, the last number for which Ithkuil assigns a separate root and symbol. After ten quadrillion, numbers - are referred to as multiples of lower sets, similar to saying in English one - trillion quadrillion instead of the equivalent one octillion.</P> + are referred to as multiples of lower sets, similar to saying in English âone + trillion quadrillionâ instead of the equivalent âone octillion.â</P> <P align="justify">While the above may seem unwieldy or even arbitrary, it actually parallels Western base-ten numerals in terms of its systematization. For example, in a Western number like 456,321,777,123, each set of three numbers between @@ -135,7 +135,7 @@ and 456 of<FONT color="#FFFFFF">_</FONT><IMG src="assets/12-1f.gif" width="36" height="14">, or in more common terms 123 ones, 777 thousands, 321 millions, 456 billions).</P> <P align="justify">The same exact system holds for Ithkuil, except that the sets - of numbers between the commas so to speak, is the number of ten-thousands, + of numbers âbetween the commasâ so to speak, is the number of ten-thousands, not thousands. Thus, if we were to rewrite the Western number 456,321,777,123 in such a system, it would be <STRONG>4563,2177,7123</STRONG> (i.e., 7123 of<FONT color="#FFFFFF">_</FONT><IMG src="assets/12-1g.gif" width="49" height="18" align="absmiddle">, 2177 of<FONT color="#FFFFFF">_<IMG src="assets/12-1h.gif" width="48" height="18" align="absmiddle"></FONT>, @@ -151,7 +151,7 @@ </TBODY></TABLE> </DIV> <P align="justify">The semantic roots for numbers in Ithkuil from 1 to 99 are - based on roots for 1 through 10, to which the nine degrees of the affix <STRONG>-V<FONT size="1">1</FONT>t</STRONG> + based on roots for 1 through 10, to which the nine degrees of the affix <STRONG>-V<FONT size="1">1</FONT>tâ</STRONG> are added. Each of the nine degrees of this suffix, when applied to one of the ten number-roots, corresponds to an additional multiple of ten. This is illustrated in Table 67 below.<BR> @@ -163,91 +163,91 @@ <P align="justify">The addition of a particular degree of this affix to one of the ten indicates that the root number is added to that multiple of ten. For example, the stem <FONT face="Arial, Helvetica, sans-serif"> <STRONG>kas</STRONG></FONT> - two, plus the seventh degree affix <STRONG>-V1t/7</STRONG>, - gives <FONT face="Arial, Helvetica, sans-serif"><STRONG>kastď</STRONG></FONT> - seventy-two. Because there is no root corresponding to zero + âtwo,â plus the seventh degree affix <STRONG>-V1tâ/7</STRONG>, + gives <FONT face="Arial, Helvetica, sans-serif"><STRONG>kastâÄ</STRONG></FONT> + âseventy-two.â Because there is no root corresponding to âzeroâ (see <A href="ithkuil-ch12-numbers.htm#Sec12o3">Sec. 12.3</A> below), each multiple of ten is constructed using stem <FONT face="Arial, Helvetica, sans-serif"><STRONG>mas</STRONG></FONT> - ten plus one of the above suffixes. Thus, the numbers 20, 30 and - 40 are respectively <STRONG><FONT face="Arial, Helvetica, sans-serif">mast</FONT></STRONG>, - <FONT face="Arial, Helvetica, sans-serif"> <STRONG>mastu</STRONG></FONT> - and <FONT face="Arial, Helvetica, sans-serif"><STRONG>mastai</STRONG></FONT>, - but the numbers 22, 32 and 42 are <STRONG><FONT face="Arial, Helvetica, sans-serif">kastu</FONT></STRONG>, - <STRONG> <FONT face="Arial, Helvetica, sans-serif">kastai</FONT></STRONG> - and <STRONG><FONT face="Arial, Helvetica, sans-serif">kastei</FONT></STRONG>. + âtenâ plus one of the above suffixes. Thus, the numbers 20, 30 and + 40 are respectively <STRONG><FONT face="Arial, Helvetica, sans-serif">mastâ</FONT></STRONG>, + <FONT face="Arial, Helvetica, sans-serif"> <STRONG>mastâu</STRONG></FONT> + and <FONT face="Arial, Helvetica, sans-serif"><STRONG>mastâai</STRONG></FONT>, + but the numbers 22, 32 and 42 are <STRONG><FONT face="Arial, Helvetica, sans-serif">kastâu</FONT></STRONG>, + <STRONG> <FONT face="Arial, Helvetica, sans-serif">kastâai</FONT></STRONG> + and <STRONG><FONT face="Arial, Helvetica, sans-serif">kastâei</FONT></STRONG>. This pattern only operates up to the nineties, as there is a separate autonomous root for 100, <EM><FONT face="Arial, Helvetica, sans-serif"><STRONG>r-s</STRONG></FONT></EM>.</P> <P align="justify">Since numbers are formatives in Ithkuil, not adjectives as in most Western languages, holistic stem No. 1, shown by the vocalic infix <FONT face="Arial, Helvetica, sans-serif"><STRONG>-a-</STRONG></FONT>, is a formative signifying a set containing a number of members corresponding to that particular root. Thus, the formative <STRONG><FONT face="Arial, Helvetica, sans-serif">kas</FONT></STRONG> - above, translatable as two, actually means a set of two; - a duo / to be a duo. In turn, the two complementary derivatives of each + above, translatable as âtwo,â actually means âa set of two; + a duo / to be a duo.â In turn, the two complementary derivatives of each stem denote its multiple and its fraction respectively. This is illustrated below for both Form I and II using the roots <FONT face="Arial, Helvetica, sans-serif"><STRONG>k-s</STRONG></FONT>, <FONT size="2">TWO</FONT>, and <FONT face="Arial, Helvetica, sans-serif"><STRONG>n-s</STRONG></FONT>, meaning <FONT size="2">SEVEN</FONT>:</P> <P align="justify">For <STRONG><FONT face="Arial, Helvetica, sans-serif">k-s</FONT></STRONG>, <FONT size="2">TWO</FONT>:</P> -<P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">kas/kâs</FONT></STRONG> - <EM>a set of two, a duo; to be two in number</EM></P> +<P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">kas/kâs</FONT></STRONG> + <EM>âa set of two, a duo; to be two in numberâ</EM></P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>kes/kęs</STRONG></FONT>: - <EM>twice the number of something; to double, to multiply by two</EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">käs/kaes</FONT></STRONG>: - <EM>a half; to halve, to be or make half, to divide by or in two</EM></P> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>kes/kÄs</STRONG></FONT>: + <EM>âtwice the number of something; to double, to multiply by twoâ</EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">käs/kaes</FONT></STRONG>: + <EM>âa half; to halve, to be or make half, to divide by or in twoâ</EM></P> </BLOCKQUOTE> -<P>2. <STRONG><FONT face="Arial, Helvetica, sans-serif">kus/kűs</FONT></STRONG> - <EM>to be or make dual; having two uses or aspects; bi-; twofold +<P>2. <STRONG><FONT face="Arial, Helvetica, sans-serif">kus/kĹąs</FONT></STRONG> + <EM>âto be or make dual; having two uses or aspects; bi-; twofoldâ </EM></P> <BLOCKQUOTE> <P><FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>kos/kôs</STRONG></FONT>: - <EM>two times (i.e., iterations), twice; to be/do/make twice</EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">kös/křs</FONT></STRONG>: - <EM>to be of or make into two parts; bifurcate(d)</EM></P> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>kos/kĂ´s</STRONG></FONT>: + <EM>âtwo times (i.e., iterations), twice; to be/do/make twiceâ</EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">kĂśs/kĹs</FONT></STRONG>: + <EM>âto be of or make into two parts; bifurcate(d)â</EM></P> </BLOCKQUOTE> -<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>kis/kîs</STRONG></FONT> - <EM>the second one in a sequence; to be or make second (in a sequence)</EM></P> +<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>kis/kĂŽs</STRONG></FONT> + <EM>âthe second one in a sequence; to be or make second (in a sequence)â</EM></P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>kës/k˙s</STRONG></FONT>: - to the second power, squared; to square, raise to the 2nd power<EM></EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">küs/kius</FONT></STRONG>: - <EM>to the negative second power, the inverse square; to divide by - the square of</EM></P> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>kĂŤs/kËs</STRONG></FONT>: + âto the second power, squared; to square, raise to the 2nd power<EM>â</EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">kĂźs/kius</FONT></STRONG>: + <EM>âto the negative second power, the inverse square; to divide by + the square ofâ</EM></P> </BLOCKQUOTE> <P>For <STRONG><FONT face="Arial, Helvetica, sans-serif">n-s</FONT></STRONG>, <FONT size="2">SEVEN</FONT>:</P> -<P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">nas/nâs</FONT></STRONG> - a set/group of seven, a septet; to be seven in number</P> +<P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">nas/nâs</FONT></STRONG> + âa set/group of seven, a septet; to be seven in numberâ</P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>nes/nęs</STRONG></FONT>: - <EM>7 times the number of something; to multiply by 7; septuple</EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">näs/naes</FONT></STRONG>: - <EM>a seventh; to be or make a 7th part of something, to divide by - 7 or into 7 parts</EM></P> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>nes/nÄs</STRONG></FONT>: + <EM>â7 times the number of something; to multiply by 7; septupleâ</EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">näs/naes</FONT></STRONG>: + <EM>âa seventh; to be or make a 7th part of something, to divide by + 7 or into 7 partsâ</EM></P> </BLOCKQUOTE> -<P>2. <FONT face="Arial, Helvetica, sans-serif"><STRONG>nus/nűs</STRONG></FONT> - to be or make seven-faceted; having 7 uses or aspects; septi-; sevenfold +<P>2. <FONT face="Arial, Helvetica, sans-serif"><STRONG>nus/nĹąs</STRONG></FONT> + âto be or make seven-faceted; having 7 uses or aspects; septi-; sevenfoldâ </P> <BLOCKQUOTE> <P><FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">nos/nôs</FONT></STRONG>: - <EM>7 times (i.e., iterations); to be/do/make 7 times</EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">nös/nřs</FONT></STRONG>: - <EM>to be of or make into 7 parts; separate(d) into 7 parts</EM></P> + <STRONG><FONT face="Arial, Helvetica, sans-serif">nos/nĂ´s</FONT></STRONG>: + <EM>â7 times (i.e., iterations); to be/do/make 7 timesâ</EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">nĂśs/nĹs</FONT></STRONG>: + <EM>âto be of or make into 7 parts; separate(d) into 7 partsâ</EM></P> </BLOCKQUOTE> -<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>nis/nîs</STRONG></FONT> - <EM>the seventh one in a sequence; to be or make 7th (in a sequence) +<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>nis/nĂŽs</STRONG></FONT> + <EM>âthe seventh one in a sequence; to be or make 7th (in a sequence)â </EM> </P> <BLOCKQUOTE> <P><FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>nës/n˙s</STRONG></FONT>: - <EM>to the 7th power; to raise to the 7th power </EM><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">nüs/nius</FONT></STRONG>: - <EM>to the negative 7th power; to divide by the 7th power of + <FONT face="Arial, Helvetica, sans-serif"><STRONG>nĂŤs/nËs</STRONG></FONT>: + <EM>âto the 7th power; to raise to the 7th powerâ </EM><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">nĂźs/nius</FONT></STRONG>: + <EM>âto the negative 7th power; to divide by the 7th power ofâ </EM> </P> </BLOCKQUOTE> <P align="justify">In addition to the above-described roots, there is the root @@ -257,37 +257,37 @@ distinction in this root (i.e., Form I versus Form II of each stem) distinguishes between a focus on non-duplication/singularity for the <FONT size="2">INFORMAL</FONT>, and indivisibility/unity for the <FONT size="2">FORMAL</FONT>:</P> -<P> 1. <STRONG><FONT face="Arial, Helvetica, sans-serif">las/lâs</FONT></STRONG> - <EM>a single entity; to be one in number </EM></P> +<P> 1. <STRONG><FONT face="Arial, Helvetica, sans-serif">las/lâs</FONT></STRONG> + <EM>âa single entity; to be one in numberâ </EM></P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">les/lęs</FONT></STRONG>: - <EM>to be indivisible, whole, a single unit; unitary; to unify</EM><BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>läs/laes</STRONG></FONT>: - <EM>to be (an) individual, a distinct entity in itself; to individualize</EM></P> + <STRONG><FONT face="Arial, Helvetica, sans-serif">les/lÄs</FONT></STRONG>: + <EM>âto be indivisible, whole, a single unit; unitary; to unifyâ</EM><BR> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>läs/laes</STRONG></FONT>: + <EM>âto be (an) individual, a distinct entity in itself; to individualizeâ</EM></P> </BLOCKQUOTE> -<P>2. <STRONG><FONT face="Arial, Helvetica, sans-serif">lus/lűs</FONT></STRONG> - a lone entity, something alone; an entity in solitude, something/someone - isolated; be alone; to isolate; be in solitude</P> +<P>2. <STRONG><FONT face="Arial, Helvetica, sans-serif">lus/lĹąs</FONT></STRONG> + âa lone entity, something alone; an entity in solitude, something/someone + isolated; be alone; to isolate; be in solitudeâ</P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">los/lôs</FONT></STRONG>: - <EM>something/someone lonely; be or make lonely</EM><BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>lös/lřs</STRONG></FONT>: - <EM>something/someone independent, self-sufficient, singular (i.e., + <STRONG><FONT face="Arial, Helvetica, sans-serif">los/lĂ´s</FONT></STRONG>: + <EM>âsomething/someone lonely; be or make lonelyâ</EM><BR> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>lĂśs/lĹs</STRONG></FONT>: + <EM>âsomething/someone independent, self-sufficient, singular (i.e., without need of, connection to, or dependency on others); be or make independent, - self-sufficient, singular</EM></P> + self-sufficient, singularâ</EM></P> </BLOCKQUOTE> -<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>lis/lîs</STRONG></FONT> - something/someone unique, the only one; to be or make unique</P> +<P>3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>lis/lĂŽs</STRONG></FONT> + âsomething/someone unique, the only one; to be or make uniqueâ</P> <BLOCKQUOTE> <P> <FONT size="2">COMPLEMENTARY DERIVATIVES</FONT>:<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">l</FONT><FONT face="Arial, Helvetica, sans-serif">ës/l˙s</FONT></STRONG>: - <EM>a sole entity, the only one available or able (in terms of sufficiency - or applicability to the context)</EM><BR> - <FONT face="Arial, Helvetica, sans-serif"><STRONG>lüs/lius</STRONG></FONT>: - <EM>something/someone one-of-a-kind, unparalleled, without equal or - peer (in terms of uniqueness of characteristics)</EM></P> + <STRONG><FONT face="Arial, Helvetica, sans-serif">l</FONT><FONT face="Arial, Helvetica, sans-serif">ĂŤs/lËs</FONT></STRONG>: + <EM>âa sole entity, the only one available or able (in terms of sufficiency + or applicability to the context)â</EM><BR> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>lĂźs/lius</STRONG></FONT>: + <EM>âsomething/someone one-of-a-kind, unparalleled, without equal or + peer (in terms of uniqueness of characteristics)â</EM></P> </BLOCKQUOTE> <P><BR> The Ithkuil numerical roots as described in the section above are as follows:</P> @@ -295,7 +295,7 @@ <TBODY><TR> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">l-s</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">k-s</FONT></STRONG></DIV></TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">-s</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ĹĄ-s</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">p-s</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">-s</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">t-s</FONT></STRONG></DIV></TD> @@ -323,7 +323,7 @@ <TBODY><TR> <TD width="19%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">r-s</FONT></STRONG></DIV></TD> <TD width="22%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">q-s</FONT></STRONG></DIV></TD> - <TD width="27%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ç-s</FONT></STRONG></DIV></TD> + <TD width="27%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ç-s</FONT></STRONG></DIV></TD> <TD width="32%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">c-s</FONT></STRONG></DIV></TD> </TR> <TR> @@ -337,13 +337,13 @@ <P> </P> <TABLE width="99%" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> - <TD><P><FONT size="4"><STRONG>12.3 EXPRESSING ZERO <A name="Sec12o3"></A></STRONG></FONT></P></TD> + <TD><P><FONT size="4"><STRONG>12.3 EXPRESSING âZEROâ <A name="Sec12o3"></A></STRONG></FONT></P></TD> </TR> </TBODY></TABLE> -<P align="justify"> Ithkuil has no word for zero nor is it conceptualized +<P align="justify"> Ithkuil has no word for âzeroâ nor is it conceptualized as a numerical category. Instead any appropriate formative may take the affixes - -V1ss/1 or -V2ss/1 <EM>no amount of</EM> or -V3b/1 <EM>no
at - all</EM> in terms of degree or extent to create negative expressions + -V1ss/1 or -V2ss/1 <EM>âno amount ofâ</EM> or -V3b/1 <EM>ânoâŚat + allâ</EM> in terms of degree or extent to create negative expressions that convey the idea of an absence of a numerical entity or quantity. In many cases, simply the negative of whatever formative is under discussion may be used. </P> @@ -357,7 +357,7 @@ </TR> </TBODY></TABLE> <P align="justify">Writing Ithkuil numerals is somewhat similar to writing numbers - in Western languages (i.e., Arabic numerals), in that the interpretation + in Western languages (i.e., âArabicâ numerals), in that the interpretation of a number as a different power of 100 (analogous to interpreting single Arabic numerals as either ones, tens, hundreds, thousands, etc.) is based on its sequence within the entire number. However, there are two aspects of writing Ithkuil @@ -368,16 +368,16 @@ employs separate autonomous symbols for each power of 100 (100, 10,000, 100 million, etc.) each of which operates as the appropriate placeholder instead of zero. To illustrate what this means by analogy, pretend that - @ is an autonomous symbol for 27 (since Ithkuil numbers from - 1 to 99 each have a separate symbol), & is a symbol for - 100, # is a symbol for 10,000 and there is no symbol 0 (zero). + â@â is an autonomous symbol for 27 (since Ithkuil numbers from + 1 to 99 each have a separate symbol), â&â is a symbol for + 100, â#â is a symbol for 10,000 and there is no symbol 0 (zero). The numbers 2700, 2705, 327, 22700 and 4,270,027 would then be written @&, @5, 3@, 2@&, and 4@#@ respectively. (NOTE: In actual practice, numbers - which contain the hundred symbol, here represented as &, + which contain the âhundredâ symbol, here represented as â&,â normally place a dot above or below the adjacent numeral and dispense with the &, indicating that the number so marked is to be multiplied by 100. Thus, 2@& would actually be written as <IMG src="assets/12-4a.gif" width="23" height="30" align="top">, - while one million can be written as <IMG src="assets/12-4b.gif" width="9" height="26" align="top"> + while âone millionâ can be written as <IMG src="assets/12-4b.gif" width="9" height="26" align="top"> instead of writing &#.<BR> </DIV> </LI> @@ -393,8 +393,8 @@ orientation, numbers follow the <EM>boustrophedon</EM> mode the same as the Ithkuil script (see <A href="ithkuil-ch11-script.htm#Sec11o3o2">Sec. 11.3.2</A>). Similarly to Western languages, small non-compound numbers can be written using - either their numerical symbols or written out in script (as in English 12 - versus twelve).</P> + either their numerical symbols or written out in script (as in English â12â + versus âtwelveâ).</P> <P align="justify">The following table gives the Ithkuil numerical symbols along with their morphological stems:<BR> <BR> @@ -422,46 +422,46 @@ Single units (from 1 to 99) are connected by the coordinative affix when they are part of the number of hundreds or higher base-units. </P> <P align="justify">It should be noted that when pronouncing numbers greater than - 199, it is normal in Ithkuil to omit the word <FONT face="Arial, Helvetica, sans-serif"><STRONG><EM>rawirs</EM></STRONG></FONT> + 199, it is normal in Ithkuil to omit the word <FONT face="Arial, Helvetica, sans-serif"><STRONG><EM>raâwirs</EM></STRONG></FONT> (= the <FONT size="2">PARTITIVE</FONT> of <STRONG><FONT face="Arial, Helvetica, sans-serif">ras</FONT></STRONG> - one hundred) referring to the number of hundreds. This is equivalent - to the custom in colloquial English of saying three twelve for - three hundred (and) twelve. The difference is that in Ithkuil, - this omission of the word for hundred is the preferred option, - the word <EM>rawirs</EM> being used only in larger numbers for claritys + âone hundredâ) referring to the number of hundreds. This is equivalent + to the custom in colloquial English of saying âthree twelveâ for + âthree hundred (and) twelve.â The difference is that in Ithkuil, + this omission of the word for âhundredâ is the preferred option, + the word <EM>raâwirs</EM> being used only in larger numbers for clarityâs sake.</P> <P align="justify">These principles are illustrated by the following examples:</P> <P><IMG src="assets/12-5a.gif" width="165" height="74"><BR> - literally: 42 (of hundreds) 29<BR> + literally: â42 (of hundreds) 29â<BR> <EM><STRONG>4229</STRONG></EM> <BR> </P> <P><IMG src="assets/12-5b.gif" width="285" height="75"><BR> - literally: 26 of ten-thousands with 97 (of hundreds) 66 = 26,9766<FONT color="#FFFFFF"></FONT><BR> + literally: â26 of ten-thousands with 97 (of hundreds) 66â = 26,9766<FONT color="#FFFFFF"></FONT><BR> <EM><STRONG>269,766<BR> </STRONG></EM><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-12-1.mp3">Listen!</A> </FONT></STRONG><EM><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-12-1.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT></STRONG></EM></P> <P> </P> <P><IMG src="assets/12-5c.gif" width="159" height="73"><BR> - literally: 21 of hundred of ten-thousands<BR> + literally: â21 of hundred of ten-thousandsâ<BR> <STRONG><EM>21,000,000</EM></STRONG> <BR> - [NOTE: <EM>rawirs</EM> is required in this example]</P> + [NOTE: <EM>raâwirs</EM> is required in this example]</P> <P><BR> <IMG src="assets/12-5d.gif" width="651" height="72"><BR> literally: <BR> - 72 of hundreds and 79 of hundred-millions with 3 of hundreds and 53 of - ten-thousands with 34 of hundreds 60 <BR> + â72 of hundreds and 79 of hundred-millions with 3 of hundreds and 53 of + ten-thousands with 34 of hundreds 60â <BR> <STRONG>727,903,533,460</STRONG></P> <P align="justify"><BR> We have already seen that when numbers are used to indicate how many of a certain noun there are, the noun must appear in the <FONT size="2">PARTITIVE</FONT> - case, since the number itself is functioning as the head of the - numerical expression (e.g., English 12 boxes being constructed - in Ithkuil as a 12-set of a box or perhaps more appropriately - a box-dozen). Another syntactical consequences of numbers being + case, since the number itself is functioning as the âheadâ of the + numerical expression (e.g., English â12 boxesâ being constructed + in Ithkuil as a â12-set of a boxâ or perhaps more appropriately + a âbox-dozenâ). Another syntactical consequences of numbers being full formatives is when a number functions as a label or overt identifier, as - in the English sentence <EM>Youll find him in Room 216.</EM> Such usage + in the English sentence <EM>Youâll find him in Room 216.</EM> Such usage of numbers is not primarily sequential (which would involve the equivalent of - ordinal numbers such as fourth, twenty-sixth, + âordinalâ numbers such as âfourth,â âtwenty-sixthâ, etc. equivalent to stem No. 3 of each number root) but rather organizational (e.g., as in the three-dimensional array of room numbers in a hotel). Ithkuil handles such organizational labeling using either the <FONT size="2">CONTRASTIVE</FONT> @@ -472,17 +472,17 @@ the noun by a numerical name. Examples:</P> <P><BR> <IMG src="assets/12-5e.gif" width="124" height="63"> <BR> - <EM>the room marked 12 </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> - Room 12 </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> Room - No. 12</EM> [i.e., as distinguished from the other numbered rooms]</P> + <EM>âthe room marked â12ââ </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> + âRoom 12â </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> âRoom + No. 12â</EM> [i.e., as distinguished from the other numbered rooms]</P> <P><BR> <IMG src="assets/12-5f.gif" width="126" height="61"> <BR> - <EM>the room marked 12 </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> - Room 12 </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> Room - No. 12</EM> [identifying reference only]</P> + <EM>âthe room marked â12ââ </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> + âRoom 12â </EM><FONT size="2"><STRONG>OR</STRONG></FONT><EM> âRoom + No. 12â</EM> [identifying reference only]</P> <P align="justify"><BR> Lastly, when numbers comprising multiple number-stems are declined for case, - configuration, extension, etc., rather than writing out the entire number long-hand, + configuration, extension, etc., rather than writing out the entire number âlong-hand,â the number symbol is used, preceded by the carrier stem <EM><STRONG>kir</STRONG></EM> (see <A href="ithkuil-ch9-syntax.htm#Sec9o4">Sec. 9.4</A>) which carries the appropriate declensions. This use of the carrier stem applies even to single-stemmed numbers @@ -548,7 +548,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P> </P> <P></P> diff --git a/2004-en-alt/ithkuil-ch0-introduction.html b/2004-en-alt/ithkuil-ch0-introduction.html index 5a844ed..746bdff 100755..100644 --- a/2004-en-alt/ithkuil-ch0-introduction.html +++ b/2004-en-alt/ithkuil-ch0-introduction.html @@ -154,7 +154,7 @@ top.frames[1].location = "nav_panelintro.html"; determined by cultural and context-driven rules; the realm of style, rhetoric, formal versus informal language, slang, etc., outside the realm of grammar. Because this is a formal grammar for a hypothetical language (i.e., it has - no real world linguistic context), pragmatics and discourse + no âreal worldâ linguistic context), pragmatics and discourse rules will not be covered. </DIV> </LI> </UL> @@ -185,8 +185,8 @@ top.frames[1].location = "nav_panelintro.html"; </LI> <LI><STRONG>Lexico-Morphology</STRONG>: The interrelationship between morphology and the lexicon, i.e., the structure of word-roots and how they interact - with other morphological categories, as illustrated by the concept of irregular - verbs, e.g., go + PAST = went.<BR> + with other morphological categories, as illustrated by the concept of âirregularâ + verbs, e.g., âgoâ + PAST = âwent.â<BR> </LI> <LI><STRONG>Lexico-Semantics</STRONG>: The interrelationship between the lexicon and semantics, i.e. between words and their meaning; what mental concepts @@ -210,18 +210,18 @@ top.frames[1].location = "nav_panelintro.html"; essentially, that Ithkuil is designed to convey large amounts of linguistic information using fewer words, with those words being based on monosyllabic roots and word-parts. In turn, the grammar supporting these words reflect the - speakers cognitive intent explicitly, while displaying little of the + speakerâs cognitive intent explicitly, while displaying little of the euphemism, vagueness, circumlocution, redundancy, polysemy (i.e., multiple meanings), and ambiguity manifested in natural languages. </P> <P align="justify"> NOTE: The preceding paragraph may remind some readers of the - <A href="http://www.urticator.net/essay/2/296.html" target="_blank">Speedtalk</A> - language in Robert Heinleins novella <EM>Gulf</EM>, in which every morpheme + â<A href="http://www.urticator.net/essay/2/296.html" target="_blank">Speedtalk</A>â + language in Robert Heinleinâs novella <EM>Gulf</EM>, in which every morpheme (meaningful word-part) is apparently represented by a single phoneme (sound). - To some extent, Ithkuil approaches this ideal. However, Heinleins Speedtalk + To some extent, Ithkuil approaches this ideal. However, Heinleinâs Speedtalk appears to focus only on the morpho-phonological component of language (i.e., the correspondence between sound and individual grammatical components) without - any corresponding focus on the logical redesign of a languages morphology, - lexico-morphology, or lexico-semantics to provide an equally compressed + any corresponding focus on the logical redesign of a languageâs morphology, + lexico-morphology, or lexico-semantics to provide an equally âcompressedâ morpho-syntactical and lexical component. Ithkuil has been designed with an equal focus on these latter linguistic components. Additionally, the apparent purpose of Heinlein's language is simple rapidity/brevity of speech and thought, @@ -240,8 +240,8 @@ top.frames[1].location = "nav_panelintro.html"; </TR> <TR> <TD width="14%" height="36" valign="top"><FONT size="2" face="Arial, Helvetica, sans-serif">TRANSLATION</FONT>:</TD> - <TD colspan="3" valign="top"><EM>On the contrary, I think it may turn - out that this rugged mountain range trails off at some point</EM>.</TD> + <TD colspan="3" valign="top">â<EM>On the contrary, I think it may turn + out that this rugged mountain range trails off at some point</EM>.â</TD> </TR> </TBODY></TABLE> <FONT size="1" face="Arial, Helvetica, sans-serif">NOTE: See Phonology, <A href="Ch-1%20Phonology.htm#Sec1o2" onclick="javascript:changenav1();">Section @@ -249,18 +249,18 @@ top.frames[1].location = "nav_panelintro.html"; Ithkuil characters.</FONT><BR> <P align="justify">The reader may well wonder why it takes a 19-word sentence in English to translate a two-word Ithkuil sentence. One might assume the sentence - cheats in that the two Ithkuil words simply have innately intricate - and specialized meanings. While it is true that the first word, <STRONG><FONT face="Arial, Helvetica, sans-serif">oumpeá</FONT></STRONG>, - translates as <EM>on the contrary, I have a feeling it may turn out at - some point (that)</EM>, and the second word, <STRONG><FONT face="Arial, Helvetica, sans-serif">äxää<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle">uktëx</FONT></STRONG>, - means <EM>the unevenly high range of mountains in question trails off</EM>, + âcheatsâ in that the two Ithkuil words simply have innately intricate + and specialized meanings. While it is true that the first word, <STRONG><FONT face="Arial, Helvetica, sans-serif">oumpeĂĄ</FONT></STRONG>, + translates as â<EM>on the contrary, I have a feeling it may turn out at + some point (that)</EM>,â and the second word, <STRONG><FONT face="Arial, Helvetica, sans-serif">äxâää<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle">uktĂŤx</FONT></STRONG>, + means â<EM>the unevenly high range of mountains in question trails off</EM>,â it would be quite erroneous to conclude that these are simply autonomous words one might theoretically find in an Ithkuil dictionary. Indeed, the only part - of the sentence that represents any sort of root word is -<STRONG><FONT face="Arial, Helvetica, sans-serif">xä<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG>-, - a stem more or less meaning hill or upland. The + of the sentence that represents any sort of ârootâ word is -<STRONG><FONT face="Arial, Helvetica, sans-serif">xä<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG>-, + a stem more or less meaning âhillâ or âupland.â The remainder of the sentence is made up entirely of morphological, not lexical components, i.e., prefixes, suffixes, infixes, vowel permutations, shifts in - stress, etc. For example, the first word, <STRONG><FONT face="Arial, Helvetica, sans-serif">oumpeá</FONT></STRONG>, + stress, etc. For example, the first word, <STRONG><FONT face="Arial, Helvetica, sans-serif">oumpeĂĄ</FONT></STRONG>, has four parts to it as shown below:</P> <TABLE width="98%" border="0" cellpadding="0"> <TBODY><TR> @@ -268,8 +268,8 @@ Ithkuil characters.</FONT><BR> <TD width="4%" valign="top">1.</TD> <TD width="6%" valign="top"><STRONG>ou</STRONG>-</TD> <TD width="3%" valign="top">=</TD> - <TD colspan="2" valign="top">an aspectual prefix translatable as it - turns out that or it is revealed that</TD> + <TD colspan="2" valign="top">an aspectual prefix translatable as âit + turns out thatâ or âit is revealed thatâ</TD> </TR> <TR> <TD height="46"> </TD> @@ -277,76 +277,76 @@ Ithkuil characters.</FONT><BR> <TD valign="top">-<STRONG>mp</STRONG>-</TD> <TD valign="top">=</TD> <TD colspan="2" valign="top">an infix indicating both a rebuttal to an allegation - and a conclusion based on the speakers intuition, translatable as - on the contrary, I have a feeling</TD> + and a conclusion based on the speakerâs intuition, translatable as + âon the contrary, I have a feelingâ</TD> </TR> <TR> <TD height="27"> </TD> <TD valign="top">3.</TD> <TD valign="top">-<STRONG>ea</STRONG></TD> <TD valign="top">=</TD> - <TD colspan="2" valign="top">an aspectual suffix translatable as at - some point or somewhere along the way</TD> + <TD colspan="2" valign="top">an aspectual suffix translatable as âat + some pointâ or âsomewhere along the wayâ</TD> </TR> <TR> <TD height="25"> </TD> <TD valign="middle">4.</TD> <TD colspan="4" valign="middle"><FONT size="2" face="Arial, Helvetica, sans-serif">stress on final syllable + falling tone </FONT> = subjunctive mood, translatable - as may</TD> + as âmayâ</TD> </TR> </TBODY></TABLE> <P align="justify"><BR> - The second word, <STRONG><FONT face="Arial, Helvetica, sans-serif">äxää<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle">uktëx</FONT></STRONG>, + The second word, <STRONG><FONT face="Arial, Helvetica, sans-serif">äxâää<IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle">uktĂŤx</FONT></STRONG>, breaks down morphologically as follows:</P> <TABLE width="98%" border="0" cellpadding="0"> <TBODY><TR> <TD width="4%" height="47"> </TD> <TD width="4%" valign="top">1.</TD> - <TD width="6%" valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä</STRONG>-</FONT></TD> + <TD width="6%" valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä</STRONG>-</FONT></TD> <TD width="3%" valign="top">=</TD> <TD colspan="3" valign="top">a prefix indicating, among other things, that - the entity displays depletion (i.e., trailing off or petering - out) </TD> + the entity displays depletion (i.e., âtrailing offâ or âpetering + outâ) </TD> </TR> <TR> <TD height="87"> </TD> <TD valign="top">2.</TD> - <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>xä<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>xâä<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT></TD> <TD valign="top">=</TD> - <TD colspan="3" valign="top">a stem derived from <FONT face="Arial, Helvetica, sans-serif"><STRONG>xä<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT> - hill, upland (in turn derived from the root <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG><FONT size="2"><STRONG>-</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT> + <TD colspan="3" valign="top">a stem derived from <FONT face="Arial, Helvetica, sans-serif"><STRONG>xä<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT> + âhill, uplandâ (in turn derived from the root <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG><FONT size="2"><STRONG>-</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></STRONG></FONT> indicating the level of a landscape), the mutation of the initial consonant <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG>- into - <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG>- + <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT>â</STRONG>- indicating that the stem is to be re-interpreted as comprising a composite entity of non-identical members consolidated together into a single segmented - whole (i.e., hill becomes uneven range of hills)</TD> + whole (i.e., âhillâ becomes âuneven range of hillsâ)</TD> </TR> <TR> <TD height="27"> </TD> <TD valign="top">3.</TD> <TD valign="top"><FONT face="Arial, Helvetica, sans-serif">-<STRONG>ukt</STRONG>-</FONT></TD> <TD valign="top">=</TD> - <TD colspan="3" valign="top">a demonstrative suffix translatable as this - (= the one in question or the one at hand)</TD> + <TD colspan="3" valign="top">a demonstrative suffix translatable as âthisâ + (= âthe one in questionâ or âthe one at handâ)</TD> </TR> <TR> <TD height="68"> </TD> <TD valign="top">4.</TD> - <TD valign="top"><FONT face="Arial, Helvetica, sans-serif">-<STRONG>ëx</STRONG></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif">-<STRONG>ĂŤx</STRONG></FONT></TD> <TD valign="top">=</TD> <TD colspan="3" valign="top">a suffix indicating that the stem is to be interpreted as being very large in size, and furthermore, that the increase in size - creates a new gestalt entity, i.e., not simply a very large hill - or upland but rather a mountain</TD> + creates a new gestalt entity, i.e., not simply a âvery large hill + or uplandâ but rather a âmountainâ</TD> </TR> <TR> <TD height="86"> </TD> <TD valign="top">5.</TD> <TD colspan="3" valign="top"><FONT size="2" face="Arial, Helvetica, sans-serif">stress on antepenultimate (i.e., third-from-last) syllable (indicated in the Romanized - spelling by doubling of the stem vowel -ä-)</FONT></TD> + spelling by doubling of the stem vowel -ä-)</FONT></TD> <TD width="5%" valign="top">=</TD> <TD width="57%" valign="top"> generic statement neutral as to time or present impact</TD> @@ -359,7 +359,7 @@ Ithkuil characters.</FONT><BR> <TD valign="top">=</TD> <TD valign="middle">statement reflects objective fact as opposed to subjective interpretation, i.e., that it describes a real situation irrespective of - the speakers beliefs, opinions, convention, usage, etc. (i.e., the + the speakerâs beliefs, opinions, convention, usage, etc. (i.e., the fact that the mountain range does have an ending whether one knows where it is or not)</TD> </TR> @@ -425,9 +425,9 @@ a container, one at a time like clockwork.</EM><BR> <TD height="30"><EM><A href="Sound_Files/Intro-4.mp3"><IMG src="assets/Intro_7.gif" width="345" height="21" border="0" align="top"></A></EM></TD> </TR> </TBODY></TABLE> -<EM>Aided by the birds own stupidity, the man, in inadvertently letting +<EM>Aided by the birdâs own stupidity, the man, in inadvertently letting it out of the house, unexpectedly and accidentally killed it without even realizing -hed done so.</EM><BR> +heâd done so.</EM><BR> <P align="justify"><BR> Such detail plus conciseness is possible due to the design of the grammar, essentially a matrix of grammatical concepts and structures designed for compactness, cross-functionality @@ -496,15 +496,15 @@ hed done so.</EM><BR> words, but in most cases, far exceed the dynamism and range of such English word series. This is illustrated by the list of Ithkuil words in the table below, all of which are simply grammatical derivations, using affixes and systematic - phonemic mutations (i.e., sound shifts), of a single word-root <STRONG><FONT color="#FF0000" face="Arial, Helvetica, sans-serif">rq</FONT></STRONG> - whose meaning is translatable as <FONT size="2">EXISTENT THING; TO EXIST - (AS SOMETHING)</FONT>. Alongside each word is its translation. (Note: + phonemic mutations (i.e., sound shifts), of a single word-root <STRONG><FONT color="#FF0000" face="Arial, Helvetica, sans-serif">râq</FONT></STRONG> + whose meaning is translatable as â<FONT size="2">EXISTENT THING; TO EXIST + (AS SOMETHING)</FONT>.â Alongside each word is its translation. (Note: the translations below represent convenient approximations at best, as purely literal translations would have to capture the systematic and derivative structure of the Ithkuil words. For example, the word<FONT size="2" face="Arial, Helvetica, sans-serif"> - </FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>amriqoçi<IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"> - </FONT> translated below as destroy literally means unmake - a constructed componential set by extreme violence. Note also that the + </FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>amriqoçi<IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"> + </FONT> translated below as âdestroyâ literally means âunmake + a constructed componential set by extreme violence.â Note also that the list below represents only a small number of the thousands of derivations theoretically possible for this single word-root.)</P> <TABLE width="73%" border="0" cellpadding="0"> @@ -519,7 +519,7 @@ hed done so.</EM><BR> world as being based on complementary principles, where, instead of discrete independence between related entities, such concepts are seen as complementary aspects of a single holistic entity. Such complementarity is in turn reflected - in the derivation of word-roots. By complementarity is meant that + in the derivation of word-roots. By âcomplementarityâ is meant that the manifestation of a concept appears in any given context as either one sort of entity or another, but never both simultaneously; yet, neither manifestation can be considered to be a discrete whole without the existence of the other. @@ -562,7 +562,7 @@ hed done so.</EM><BR> of the hole, or on the structural nature of the hole. Either of these two perspectives represents a legitimate, but complementary way to consider a hole or puncture. Thus, the Ithkuil word would have two derivative roots each indicating one of - these two perspectives. One such root would be used when saying <EM>Theres + these two perspectives. One such root would be used when saying <EM>Thereâs a hole in your shirt</EM>, while the other would be used when saying <EM>She saw me through a hole in the fence</EM>.</P> <P align="justify">Ithkuil recognizes that such complementarity exists for virtually @@ -630,7 +630,7 @@ hed done so.</EM><BR> <BLOCKQUOTE> <P align="justify">(a)<EM> The boy rolled down the hill.</EM><BR> (b) <EM>Maybe she just stopped smoking.</EM><BR> - (c) <EM>Joe didnt win the lottery yesterday.</EM><BR> + (c) <EM>Joe didnât win the lottery yesterday.</EM><BR> (d) <EM>There is a dog on my porch.</EM></P> </BLOCKQUOTE> </BLOCKQUOTE> @@ -641,19 +641,19 @@ hed done so.</EM><BR> relations and cognitive intent. For example, in sentence (a) we have no idea whether the boy chose to roll himself down the hill or whether he was pushed against his will. (In formal linguistic terms we would say it is unknown whether - the semantic role of the subject boy is as <EM>agent</EM> or <EM>patient</EM>.) - And yet knowing which scenario is correct is crucial to understanding the speakers + the semantic role of the subject âboyâ is as <EM>agent</EM> or <EM>patient</EM>.) + And yet knowing which scenario is correct is crucial to understanding the speakerâs intent in describing the action. </P> <P align="justify">Imagine sentence (b) <EM>Maybe she just stopped smoking</EM> - being spoken as an answer to the question Why does she seem so irritable? + being spoken as an answer to the question âWhy does she seem so irritable?â In interpreting sentence (b), we have no idea whether the subject is indeed a smoker or not; i.e., is the speaker offering this speculation because he/she knows the subject to be a smoker, or as mere conjecture without knowledge one way or the other whether the subject smokes or not? </P> -<P align="justify">Sentence (c) <EM>Joe didnt win the lottery yesterday</EM> - illustrates four-way ambiguity. Joes failure to win the lottery could - be either because: the speaker knows Joe didnt play; because the speaker - knows Joe did play but lost; because the speaker doesnt know whether +<P align="justify">Sentence (c) <EM>Joe didnât win the lottery yesterday</EM> + illustrates four-way ambiguity. Joeâs failure to win the lottery could + be either because: the speaker knows Joe didnât play; because the speaker + knows Joe did play but lost; because the speaker doesnât know whether Joe played or not and is simply voicing a conjecture; or because the statement is an inference based on some indirect clue (e.g., since Joe showed up for work today, he must not have won the lottery).</P> @@ -669,19 +669,19 @@ hed done so.</EM><BR> sentences. This shows that, despite the fact that all four sentences are grammatically well-formed English sentences whose words in and of themselves are unambiguous, their grammar alone is insufficient to convey the cognitive information necessary - to fully comprehend the intent of the speakers utterance. This failure + to fully comprehend the intent of the speakerâs utterance. This failure of grammar to inherently convey the requisite information necessary to understand - a speakers cognitive intent is a functional pitfall of human language + a speakerâs cognitive intent is a functional pitfall of human language in general which Ithkuil grammar has been designed to avoid. The Ithkuil equivalents - to the above four sentences would mandatorily convey all of the missing + to the above four sentences would mandatorily convey all of the âmissingâ information noted above without requiring any extra words not corresponding to the English originals. The grammatical elements of the words themselves (word-selection, declensions, conjugations, prefixes, suffixes, etc.) would convey all the elements mentioned.</P> <P align="justify">Similar examples can be given to show the extent to which natural languages such as English must often resort to idiomatic expressions, metaphor, - paraphrase, circumlocution and supra-segmental phenomena (e.g., - changing the pitch of ones voice) in their attempts to convey a speakers + paraphrase, circumlocution and âsupra-segmentalâ phenomena (e.g., + changing the pitch of oneâs voice) in their attempts to convey a speakerâs intended meaning. Ithkuil grammar has been designed to overtly and unambiguously reflect the intention of a speaker with a minimum of such phenomena.</P> <P align="justify"> </P> @@ -694,7 +694,7 @@ hed done so.</EM><BR> <P align="justify">Those readers familiar with the history of <A href="http://donh.best.vwh.net/Esperanto/EBook/chap03.html#introduction" target="_blank">artificial language construction</A> might think this endeavor belated or unnecessary, in that <A href="http://minyeva.alkaline.org/links.html" target="_blank">logical - languages</A> such as James Cooke Browns renowned Loglan (or its popular + languages</A> such as James Cooke Brownâs renowned Loglan (or its popular derivative, Lojban) already exist. This serves to illustrate exactly what distinguishes Ithkuil from such previous attempts. Loglan was published in the 1950s as a spoken/written language based on symbolic logic (formally known as the first-order @@ -709,13 +709,13 @@ hed done so.</EM><BR> in terms of meaning, nor are they capable of analyzing or formalizing the structure of the cognitive or semantic realm of the human mind in terms of how meaning itself is assigned to arguments. (Indeed, Lojban derives its roots via statistical - sampling of the most frequent roots in the six most spoken natural + âsamplingâ of the most frequent roots in the six most spoken natural languages, a method virtually guaranteed to carry over into the Lojban lexicon all of the lexico-semantic inefficiencies previously described.) By not addressing these components of language, Loglan and similar efforts fail to address the inconsistencies and inefficiency inherent in language at the lexico-semantic level. Ithkuil has been designed to systematically address this issue. </P> -<P align="justify">Other readers might think of international languages (or interlanguages) +<P align="justify">Other readers might think of international languages (or âinterlanguagesâ) such as Esperanto, Interlingua, or Ido, as being logical and efficient representations of language. However, these languages are merely simplified, regularized amalgamations of existing languages (usually Indo-European), designed for ease of learning. While @@ -723,8 +723,8 @@ hed done so.</EM><BR> found at the morpho-phonological and morpho-syntactic levels, they do little to address the problems found within the other components of language, especially the lexico-semantic. For example, while Esperanto admirably employs systematic - rules for word derivation as <EM>knabo</EM> boy versus <EM>knabino</EM> - girl, it preserves the basic lexico-semantic categorization scheme + rules for word derivation as <EM>knabo</EM> âboyâ versus <EM>knabino</EM> + âgirl,â it preserves the basic lexico-semantic categorization scheme of Indo-European languages in general, rather than seeking opportunities to expand such word derivation schemes into multidimensional arrays as will be shortly illustrated for Ithkuil.</P> @@ -738,11 +738,11 @@ hed done so.</EM><BR> systematically represented in the phonological structure of an individual word. For example an initial <EM>g</EM>- might stand for a plant, while <EM>go</EM>- indicated a tree, <EM>gob</EM>- a particular class of tree, and <EM>gobo</EM> - a particular tree species. While unworkable in terms of specifics, Wilkins + a particular tree species. While unworkable in terms of specifics, Wilkinsâ underlying principles are similar in a simplistic way to some of the abstract derivational principles employed in Ithkuil lexico-morphology and lexico-semantics. Another comparable predecessor in a simplistic sense is the musical language, - Solresol, created by Jean François Sudre and published in + Solresol, created by Jean François Sudre and published in 1866.</P> <P align="justify"> </P> <TABLE width="100%" border="0" cellpadding="1"> @@ -755,7 +755,7 @@ hed done so.</EM><BR> in the niche it occupies in the array of both natural and invented languages. The design of Ithkuil has slowly and painstakingly evolved from my early attempts as a teenager (following my introduction to the Sapir-Whorf hypothesis and Charles - Fillmores seminal 1968 article on case grammar) to explore beyond the + Fillmoreâs seminal 1968 article on case grammar) to explore beyond the boundaries of Western Indo-European languages to a complex, intricate array of interwoven grammatical concepts, many of which are wholly of my own creation, others of which have been inspired by such obscure linguistic sources as the @@ -764,25 +764,25 @@ hed done so.</EM><BR> case systems of Basque and the Dagestanian languages, the enclitic system of Wakashan languages, the positional orientation systems of Tzeltal and Guugu Yimidhirr, the Semitic triliteral root morphology, and the hearsay and possessive - categories of Suzette Elgins Láadan language, not to mention ideas + categories of Suzette Elginâs LĂĄadan language, not to mention ideas inspired by countless hours studying texts in theoretical linguistics, cognitive grammar, psycholinguistics, language acquisition, linguistic relativity, semantics, semiotics, philosophy, fuzzy set theory, and even quantum physics. </P> <P align="justify">The Ithkuil writing system likewise derives from both original - and inspired sources: it employs a unique morpho-phonemic principle + and inspired sources: it employs a unique âmorpho-phonemicâ principle of my own invention, its logical design borrows from the mutational principles underlying the Ethiopic and Brahmi scripts, and its aesthetic visual design bears a superficial resemblance to Hebrew square script and the various Klingon fonts.</P> <P align="justify">As for the name of the language, Ithkuil, it is an anglicized rendering of the word <IMG src="assets/Intro_5.gif" width="40" height="20" align="absbottom">, - whose approximate translation is hypothetical language. </P> + whose approximate translation is âhypothetical language.â </P> <P align="justify">This website provides a systematic presentation of the grammar of the language. In addition to a description of the various components of the grammar, the reader will find example phrases or sentences illustrating those components. Each example comprises an Ithkuil word, phrase, or sentence written in native Ithkuil script, accompanied by a Romanized transliteration, an English - translation (sometimes divided into a natural versus literal translation), + translation (sometimes divided into a ânaturalâ versus literal translation), and a morphological analysis. The morphological analysis is presented serially, morpheme-by-morpheme, using three-letter abbreviations or labels for Ithkuil morphological categories. These labels are presented within the body of the @@ -794,10 +794,10 @@ hed done so.</EM><BR> 4</A></FONT>):</P> <BLOCKQUOTE> <P align="justify"><IMG src="assets/Intro_3.gif" width="84" height="21"><BR> - <STRONG>tęr hionn</STRONG><BR> + <STRONG>tÄr hionn</STRONG><BR> <FONT face="Arial, Helvetica, sans-serif">title</FONT>-<FONT size="2" face="Arial, Helvetica, sans-serif">OBL</FONT> <FONT face="Arial, Helvetica, sans-serif">father</FONT>-<FONT size="2" face="Arial, Helvetica, sans-serif">PRP</FONT><BR> - <EM>a fathers title</EM></P> + <EM>âa fatherâs titleâ</EM></P> </BLOCKQUOTE> <P align="justify">This work is not meant as a primer or means of self-instruction in speaking the language, a task beyond even its creator, given that Ithkuil @@ -807,10 +807,10 @@ hed done so.</EM><BR> extreme morpho-semantic economy and efficiency. I believe I have achieved a result which is close to the ideal I sought. I leave it to the reader to explore that result.</P> -<P align="justify">I wish to thank all of those who have taken an interest in Ithkuil. I especially wish to thank Stanislav Kozlovskiy, whose 2004 article The Speed of Thought brought Ithkuil to the attention of so many people. Спасибо, Стас! Thanks also to Lexa Samons for his hard work in translating the original <A href="http://ithkuil-russian.narod.ru/" target="_blank">Ithkuil site into Russian</A>. My appreciation also to fellow linguist and conlanger David J. Peterson for bestowing upon Ithkuil the <A href="http://dedalvs.conlang.org/smileys/2008.html" target="_blank">2008 Smiley Award</A>. </P> +<P align="justify">I wish to thank all of those who have taken an interest in Ithkuil. I especially wish to thank Stanislav Kozlovskiy, whose 2004 article âThe Speed of Thoughtâ brought Ithkuil to the attention of so many people. Спасибо, Стас! Thanks also to Lexa Samons for his hard work in translating the original <A href="http://ithkuil-russian.narod.ru/" target="_blank">Ithkuil site into Russian</A>. My appreciation also to fellow linguist and conlanger David J. Peterson for bestowing upon Ithkuil the <A href="http://dedalvs.conlang.org/smileys/2008.html" target="_blank">2008 Smiley Award</A>. </P> <P align="center"><A href="http://dedalvs.conlang.org/smileys/2008.html" target="_blank"><IMG src="assets/smiley_award.GIF" alt="Smiley Award" width="214" height="80" border="0" longdesc="http://dedalvs.conlang.org/smileys/2008.html"></A></P> <P align="justify">I dedicate this work to my brother, Paul, in fond memory of - <EM>Kccöj</EM>, <EM>Mbozo</EM>, and our other made-up languages, and all + <EM>KccĂśj</EM>, <EM>Mbozo</EM>, and our other made-up languages, and all the fun times we had as kids learning about and playing with linguistics.</P> <P align="right"><STRONG><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch1-phonology.html" onclick="javascript:changenav1();">Proceed to Chapter One: Phonology >></A></FONT></STRONG></P> @@ -868,7 +868,7 @@ hed done so.</EM><BR> <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="justify"> </P> diff --git a/2004-en-alt/ithkuil-ch1-phonology.html b/2004-en-alt/ithkuil-ch1-phonology.html index a9baa2f..45864f5 100755..100644 --- a/2004-en-alt/ithkuil-ch1-phonology.html +++ b/2004-en-alt/ithkuil-ch1-phonology.html @@ -129,7 +129,7 @@ top.frames[1].location = "nav_panel1.html"; </TBODY></TABLE> </DIV> <P align="justify">In furtherance of morpho-phonological efficiency (one of the - languages goals as explained in the introduction), Ithkuil must have + languageâs goals as explained in the introduction), Ithkuil must have a large phonemic inventory, specifically 65 consonants and 17 vowels, illustrated by place and manner of articulation in Table No. 1 below using a special romanized orthography. Because this is far more than most Western languages, Ithkuil has @@ -195,7 +195,7 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>p</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>b</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/p-aspirated.gif" width="20" height="19"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>p</STRONG></FONT><STRONG></STRONG></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>p</STRONG></FONT><STRONG>â</STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -246,7 +246,7 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">d</FONT></STRONG></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/t-aspirated.gif" width="15" height="19"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT><STRONG></STRONG></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT><STRONG>â</STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -267,7 +267,7 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>c</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/z-bar.gif" width="9" height="11"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/c-aspirated.gif" width="18" height="17"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>c</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>câ</STRONG></FONT></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">s</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">z</FONT></STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT></DIV></TD> @@ -284,7 +284,7 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/z-dot.gif" width="9" height="15"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot aspirated.gif" width="17" height="17"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"><STRONG></STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"><STRONG>â</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/s-cedilla.gif" width="8" height="14"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/z-cedilla.gif" width="14" height="15"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT></DIV></TD> @@ -301,7 +301,7 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>j</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv aspirated.gif" width="16" height="16"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG></STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG>â</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Sv.gif" width="8" height="16"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Zv.gif" width="9" height="16"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -314,12 +314,12 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/k-cedilla.gif" width="10" height="17"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Jv.gif" width="9" height="20"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/k-cedilla aspirated.gif" width="18" height="20" align="absbottom"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom"><STRONG></STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom"><STRONG>â</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>çâ</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Yv.gif" width="12" height="19"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -331,11 +331,11 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">k</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">g</FONT></STRONG></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/k-aspirated.gif" width="19" height="18"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT><STRONG></STRONG></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT><STRONG>â</STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>xâ</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Gv.gif" width="12" height="21"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/n-cedilla.gif" width="10" height="14"></FONT></DIV></TD> @@ -348,11 +348,11 @@ top.frames[1].location = "nav_panel1.html"; <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/g-dot.gif" width="12" height="19"></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/q-aspirated.gif" width="19" height="18"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT><STRONG></STRONG></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT><STRONG>â</STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG></STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG>â</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -379,7 +379,7 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif">GLOTTAL</FONT></STRONG></TD> - <TD><DIV align="center"><STRONG><FONT size="4"></FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="4">â</FONT></STRONG></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD><DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_</FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> @@ -449,14 +449,14 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="26"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">High</FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>î</STRONG></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>˙</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĂŽ</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ë</STRONG></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"> </FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ü</STRONG></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ď</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ăź</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ä</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"> </FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ű</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ĺą</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"> </FONT></DIV></TD> </TR> <TR> @@ -475,20 +475,20 @@ top.frames[1].location = "nav_panel1.html"; <TR> <TD height="25"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">Mid</FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"></FONT><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif"> - </FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ę</STRONG></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ř</STRONG></FONT></DIV></TD> + </FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ä</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ĺ</STRONG></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"></FONT><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ë</STRONG></FONT><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif"> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĂŤ</STRONG></FONT><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif"> </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ô</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ă´</STRONG></FONT></DIV></TD> </TR> <TR> <TD height="26"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">Mid-Low</FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>e</STRONG></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ö</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ăś</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ @@ -499,13 +499,13 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="27"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">Low</FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä</STRONG></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>a</STRONG></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> - <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></DIV></TD> + <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></DIV></TD> <TD valign="middle"> <DIV align="center"><FONT color="#FFFFFF" face="Arial, Helvetica, sans-serif">_ </FONT><FONT face="Arial, Helvetica, sans-serif"></FONT><FONT face="Arial, Helvetica, sans-serif"></FONT></DIV></TD> </TR> @@ -582,11 +582,11 @@ top.frames[1].location = "nav_panel1.html"; </DIV></TD> </TR> <TR> - <TD height="95" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></DIV></TD> + <TD height="95" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></DIV></TD> <TD valign="top"> <DIV align="justify">Like the initial sound in English <EM><STRONG>h</STRONG>uman</EM>, <EM><STRONG>h</STRONG>uge</EM>, <EM><STRONG>h</STRONG>ue</EM>, or the sound in German <EM>i<STRONG>ch</STRONG></EM>. A voiceless dorso-palatal - non-grooved (slit) fricative; IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ç</FONT></STRONG>]. + non-grooved (slit) fricative; IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ç</FONT></STRONG>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>C</STRONG></FONT>]. Example sound files:<BR> <A href="Sound_Files/cons-4a.mp3"><IMG src="assets/cons-4a.gif" width="221" height="16" border="0" align="absbottom"></A> @@ -611,7 +611,7 @@ top.frames[1].location = "nav_panel1.html"; <TD height="20" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" width="12" height="17"></FONT></DIV></TD> <TD valign="top"><DIV align="justify">As in English <EM><STRONG>th</STRONG>is</EM>, <EM>ba<STRONG>th</STRONG>e</EM>, <EM>wea<STRONG>th</STRONG>er</EM>. A - voiced apico-interdental fricative; IPA [<FONT size="3"><STRONG>đ</STRONG></FONT>]. + voiced apico-interdental fricative; IPA [<FONT size="3"><STRONG>Ä</STRONG></FONT>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>D</STRONG></FONT>]. <BR> <BR> @@ -639,9 +639,9 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><DIV align="justify">No English equivalent. The voiced dorso-uvular unaspirated plosive found in Inuit and several Paleo-Siberian languages such as Chukchi and Nivkh. Similar to the hard <EM>g</EM>-sound above - but made by pressing the tongue against the uvula (the little punching - bag hanging at the back of the palate) as opposed to the soft palate. - The resulting sound has a characteristic gulped quality. + but made by pressing the tongue against the uvula (the little âpunching + bagâ hanging at the back of the palate) as opposed to the soft palate. + The resulting sound has a characteristic âgulpedâ quality. The voiced counterpart to Ithkuil <STRONG>q</STRONG> below; IPA [<STRONG><IMG src="assets/IPA G-uvular.gif" width="10" height="9"></STRONG>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>G\</STRONG></FONT>]. Example sound files:<BR> @@ -655,7 +655,7 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><DIV align="justify">No English equivalent. The voiced counterpart of <STRONG>x</STRONG> below. Can be approximated by putting the tongue in the position to pronounce English g as in <EM><STRONG>g</STRONG>a<STRONG>g</STRONG></EM> - then, without moving the tongue, trying to say uh instead. + then, without moving the tongue, trying to say âuhâ instead. A voiced dorso-velar fricative; IPA [<IMG src="assets/IPA g-gamma.gif" width="12" height="13" align="absbottom">]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>G</STRONG></FONT>]. Example sound files:<BR> @@ -706,15 +706,15 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><DIV align="justify">No English equivalent. The voiced counterpart of Ithkuil <STRONG> <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom"></STRONG> below. Found in Hungarian and Czech where it is spelled <EM>gy</EM> and - <EM>d´</EM> respectively. Sort of like a <EM>g</EM>+<EM>y</EM> sound + <EM>d´</EM> respectively. Sort of like a <EM>g</EM>+<EM>y</EM> sound as in English <EM>bi<STRONG>g y</STRONG>ear</EM> pronounced rapidly, with the <EM>g</EM>-sound pronounced with the tongue against the hard palate as opposed to the soft palate. A voiced dorso-palatal unaspirated plosive. IPA [<IMG src="assets/j-bar.gif" width="9" height="15" align="absbottom">]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>J\</STRONG></FONT>]. Example sound files: <A href="Sound_Files/cons-10b.mp3"><BR> - <IMG src="assets/cons-10b.gif" width="38" height="16" border="0" align="absbottom"></A><EM>day - (24-hour period)</EM><A href="Sound_Files/cons-10b.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"><BR> + <IMG src="assets/cons-10b.gif" width="38" height="16" border="0" align="absbottom"></A><EM>âday + (24-hour period)â</EM><A href="Sound_Files/cons-10b.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"><BR> </A><A href="Sound_Files/cons-1a.wav"></A><FONT color="#FFFFFF"><A href="Sound_Files/cons-10a.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A><BR> <BR> </FONT></DIV></TD> @@ -747,9 +747,9 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="93" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>l</STRONG></FONT></DIV></TD> - <TD valign="top"><DIV align="justify">The light <EM>l</EM>-sound + <TD valign="top"><DIV align="justify">The âlightâ <EM>l</EM>-sound of the Romance languages, or as in British English <EM><STRONG>l</STRONG>eader</EM>; - not the dark (velarized) <EM>l</EM>-sound of American English + not the âdarkâ (velarized) <EM>l</EM>-sound of American English <EM><STRONG>l</STRONG>u<STRONG>ll</STRONG></EM>. A voiced apico-dental dorso-bilateral liquid continuant; IPA and X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>l</STRONG></FONT>]. Example sound files: <A href="Sound_Files/cons-13a.mp3"><BR> @@ -761,9 +761,9 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="96" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-slash.gif" width="8" height="14" align="absmiddle"></FONT></DIV></TD> - <TD valign="top"><DIV align="justify">The dark (velarized) <EM>l</EM>-sound + <TD valign="top"><DIV align="justify">The âdarkâ (velarized) <EM>l</EM>-sound of American English <EM><STRONG>l</STRONG>u<STRONG>ll</STRONG></EM>, not - the light <EM>l</EM>-sound of the Romance languages or British + the âlightâ <EM>l</EM>-sound of the Romance languages or British English <EM><STRONG>l</STRONG>eader</EM>. A voiced velarized apico-dental dorso-bilateral liquid continuant; IPA [<IMG src="assets/IPA l-velarized.gif" width="10" height="14" align="absmiddle">]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>5</STRONG></FONT>]. @@ -829,8 +829,8 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><DIV align="justify">No English equivalent. The voiceless dorso-uvular unaspirated plosive found in Arabic, Inuit and many American Indian and Caucasian languages. Similar to an unaspirated <EM>k</EM>-sound - but made by pressing the tongue against the uvula (the little punching - bag hanging at the back of the palate) as opposed to the soft palate. + but made by pressing the tongue against the uvula (the little âpunching + bagâ hanging at the back of the palate) as opposed to the soft palate. IPA and X-SAMPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">q</FONT></STRONG>]. Example sound file: <A href="Sound_Files/cons-38b.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A><BR> <BR> @@ -886,7 +886,7 @@ top.frames[1].location = "nav_panel1.html"; <TR> <TD height="81" valign="top"> <DIV align="center"><IMG src="assets/Rv.gif" width="7" height="16"></DIV></TD> <TD valign="top"><DIV align="justify">No English equivalent. Like the throaty - or gargled <EM>r</EM>-sound found in colloquial French and + or âgargledâ <EM>r</EM>-sound found in colloquial French and German. A voiced dorso-uvular approximant (non-trilled); IPA [<IMG src="assets/IPA R-uvular approxmt.gif" width="8" height="10">]. X-SAMPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">R</FONT></STRONG>]. Example sound files:<BR> @@ -921,7 +921,7 @@ top.frames[1].location = "nav_panel1.html"; </DIV></TD> </TR> <TR> - <TD height="59" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></DIV></TD> + <TD height="59" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄ</STRONG></FONT></DIV></TD> <TD valign="top"><DIV align="justify">As in English <EM><STRONG>sh</STRONG>oe<STRONG>sh</STRONG>ine</EM> but without the lip-rounding of the English sound. A voiceless non-labialized lamino-postalveolar dorso-palatal grooved sibilant fricative; IPA [<IMG src="assets/IPA S-esh.gif" width="10" height="17" align="absbottom">]. @@ -1004,7 +1004,7 @@ top.frames[1].location = "nav_panel1.html"; <TR> <TD height="78" valign="top"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Yv.gif" width="12" height="19"></FONT></DIV></TD> <TD valign="top"><DIV align="justify">No English equivalent. The voiced counterpart - to <STRONG>ç</STRONG> above. This is the intensive + to <STRONG>ç</STRONG> above. This is the âintensiveâ <EM>y</EM>-sound heard in Castilian and some Latin American varieties of Spanish. Like the sound in English <EM><STRONG>y</STRONG>et</EM>, <EM><STRONG>y</STRONG>am</EM> but with the blade of the tongue held more closely to the hard palate, @@ -1037,7 +1037,7 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="49" valign="top"><DIV align="center"><IMG src="assets/Zv.gif" width="9" height="16"></DIV></TD> - <TD valign="top">The voiced counterpart of <STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG> + <TD valign="top">The voiced counterpart of <STRONG><FONT face="Arial, Helvetica, sans-serif">ĹĄ</FONT></STRONG> above. Similar to the sound in English <EM>plea<STRONG>s</STRONG>ure</EM> or <EM>lei<STRONG>s</STRONG>ure</EM>, but without lip-rounding. A voiced lamino-alveolar dorso-palatal grooved sibilant fricative; IPA [<IMG src="assets/IPA ezh.gif" width="8" height="14" align="absbottom">]. @@ -1066,10 +1066,10 @@ top.frames[1].location = "nav_panel1.html"; </DIV></TD> </TR> <TR> - <TD height="90" valign="top"> <DIV align="center"><STRONG><FONT size="4"></FONT></STRONG></DIV></TD> + <TD height="90" valign="top"> <DIV align="center"><STRONG><FONT size="4">â</FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">This sound is the glottal stop heard between the two vowels in English o<EM>h-oh</EM> or as the sound heard - in most American English speakers pronunciation of the word <EM>fa<STRONG>tt</STRONG>ening</EM>. + in most American English speakersâ pronunciation of the word <EM>fa<STRONG>tt</STRONG>ening</EM>. This sound is very common in other languages such as Hawaiian, Arabic, Hebrew, etc. A voiceless bi-glottal stop; IPA [<IMG src="assets/IPA glottal stop.gif" width="7" height="14" align="absmiddle">]. Example sound files: <BR> @@ -1102,7 +1102,7 @@ top.frames[1].location = "nav_panel1.html"; Amharic, Georgian, most of the Caucasian languages, and many American Indian languages. Ejectives (also called glottalized consonants) are consonants accompanied by simultaneous closure and sudden release of the glottis (vocal chords), which - gives the sound a distinct popped or explosive quality. Ejectives + gives the sound a distinct âpoppedâ or explosive quality. Ejectives are indicated by an apostrophe following the consonant, thus: <IMG src="assets/1-2-1-2a.gif" width="245" height="21" align="absmiddle">. Note: the lateral affricate <IMG src="assets/Qv.gif" width="9" height="16" align="absbottom"> has an allophone (alternate pronunciation) as an ejective as well. Example sound @@ -1117,46 +1117,46 @@ top.frames[1].location = "nav_panel1.html"; </P> </BLOCKQUOTE> <P align="justify">In addition to the above ejectives, there are three additional - ejective consonants, all of them affricates, <STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT></STRONG>, - <FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT>, - and <FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG></STRONG></FONT>, + ejective consonants, all of them affricates, <STRONG><FONT face="Arial, Helvetica, sans-serif">çâ</FONT></STRONG>, + <FONT face="Arial, Helvetica, sans-serif"><STRONG>xâ</STRONG></FONT>, + and <FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG>â</STRONG></FONT>, whose rather difficult and exotic pronunciations are described below.</P> <TABLE width="95%" border="0" cellpadding="0"> <TBODY><TR> - <TD width="5%" height="94" align="center" valign="top"><STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT></STRONG></TD> + <TD width="5%" height="94" align="center" valign="top"><STRONG><FONT face="Arial, Helvetica, sans-serif">çâ</FONT></STRONG></TD> <TD width="95%" valign="top"> <DIV align="justify">This sound is a combination of Ithkuil <FONT face="Arial, Helvetica, sans-serif"> <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom"></FONT> - + Ithkuil <STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT></STRONG> + + Ithkuil <STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT></STRONG> (the voiceless palatal slit fricative described above), the combination then ejectivized. There is no English approximation. When pronounced properly, - it should sound like a sudden high-pitched explosive hissing. IPA [<IMG src="assets/IPA c-bar & c-cedilla.gif" width="20" height="13" align="absbottom"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT>]. + it should sound like a sudden high-pitched explosive hissing. IPA [<IMG src="assets/IPA c-bar & c-cedilla.gif" width="20" height="13" align="absbottom"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>c_C_></STRONG></FONT>]. Example sound file: <BR> <A href="Sound_Files/cons-40a.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A><BR> </DIV></TD> </TR> <TR> - <TD height="96" align="center" valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT></TD> + <TD height="96" align="center" valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG>xâ</STRONG></FONT></TD> <TD valign="top"> <DIV align="justify">This sound is a combination of Ithkuil <STRONG>k</STRONG> + Ithkuil <STRONG>x</STRONG> (the voiceless velar fricative described above), the combination then ejectivized. There is no English approximation. When pronounced properly, it should be a harsh, sudden, emphatic <EM>k</EM>-sound, accompanied by a high-pitched sound of static, as if someone is verbally - imitating the sound of a glass breaking. IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">kx</FONT></STRONG>]. + imitating the sound of a glass breaking. IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">kxâ</FONT></STRONG>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>k_x_></STRONG></FONT>]. Example sound file: <A href="Sound_Files/cons-40b.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A><BR> </DIV></TD> </TR> <TR> - <TD height="84" align="center" valign="top"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG></STRONG></FONT></TD> + <TD height="84" align="center" valign="top"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG>â</STRONG></FONT></TD> <TD valign="top"> <DIV align="justify">This sound is a combination of Ithkuil <STRONG><FONT face="Arial, Helvetica, sans-serif">q</FONT></STRONG> + Ithkuil <FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"> </FONT>(the voiceless uvular fricative described above), the combination then ejectivized. There is no English approximation. When pronounced properly, - it sounds like a very harsh, explosive, strangled choking sound. IPA [<STRONG><FONT face="Arial, Helvetica, sans-serif">q<IMG src="assets/IPA x-chi.gif" width="15" height="14" align="absbottom"></FONT></STRONG>]. + it sounds like a very harsh, explosive, strangled choking sound. IPA [<STRONG><FONT face="Arial, Helvetica, sans-serif">q<IMG src="assets/IPA x-chi.gif" width="15" height="14" align="absbottom"></FONT>â</STRONG>]. X-SAMPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>q_X_></STRONG></FONT>]. This sound is found in a few obscure Northeast Caucasian languages (e.g., Dido, Archi). Example sound file:<BR> @@ -1169,15 +1169,15 @@ top.frames[1].location = "nav_panel1.html"; <IMG src="assets/1-2-1-3a.gif" width="118" height="18" align="absbottom">, can be pronounced as full syllables in absence of a vowel. The phenomenon of syllabic consonants is fairly common and occurs in colloquial English expressions - such as hmm (as when pondering a thought), mm-hmm + such as âhmmâ (as when pondering a thought), âmm-hmmâ (an expression of approval or agreement), as well as with the consonants <EM>n</EM> and <EM>l</EM> as in the second syllable of words like <EM>button</EM> and <EM>little</EM>. - Syllabic nasals are also found in Navajo, as in the words <EM>nda</EM> no, - and <EM>ndíghílii</EM> sunflower. In Ithkuil, these + Syllabic nasals are also found in Navajo, as in the words <EM>nda</EM> ânoâ, + and <EM>ndĂghĂlii</EM> âsunflower.â In Ithkuil, these six syllabic consonants can appear as word-initial syllables preceding a consonant as in <IMG src="assets/1-2-1-3b.gif" width="152" height="23" align="absmiddle"> However, they also occur in special geminate (i.e., doubled) clusters where - the second half of the geminated cluster is pronounced as a separate + the second âhalfâ of the geminated cluster is pronounced as a separate syllable. Examples: <IMG src="assets/1-2-1-3c.gif" width="139" height="23" align="absbottom">.</P> <P align="justify"></P> <H3 align="justify">1.2.2 Pronunciation of Vowels</H3> @@ -1197,41 +1197,41 @@ top.frames[1].location = "nav_panel1.html"; <STRONG>u</STRONG> is halfway between English <EM>c<STRONG>oo</STRONG>k</EM> and <EM>k<STRONG>oo</STRONG>k</EM>. Sound files: <STRONG><FONT color="#0000FF" size="+1"><A href="Sound_Files/vowel-1.mp3">a e i o u</A> </FONT></STRONG> <A href="Sound_Files/vowel-1.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></P> -<P align="justify">The vowel <STRONG>â</STRONG> is pronounced as in Western +<P align="justify">The vowel <STRONG>â</STRONG> is pronounced as in Western U.S. <EM><STRONG>a</STRONG>ll</EM>, IPA [<IMG src="assets/IPA a-back.gif" width="9" height="13" align="absmiddle">]; - <STRONG>ę</STRONG> and <STRONG>ô</STRONG> are mid-height, IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">e</FONT></STRONG>] + <STRONG>Ä</STRONG> and <STRONG>Ă´</STRONG> are mid-height, IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">e</FONT></STRONG>] and [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">o</FONT></STRONG>] as in Spanish <EM><STRONG>e</STRONG>st<STRONG>o</STRONG>s</EM> or in French - <EM>p<STRONG>oé</STRONG>sie</EM>; <STRONG>î</STRONG> and <STRONG>ű</STRONG> + <EM>p<STRONG>oĂŠ</STRONG>sie</EM>; <STRONG>ĂŽ</STRONG> and <STRONG>Ĺą</STRONG> are high (i.e., fully closed) as in Spanish or Italian <EM>i</EM> and <EM>u</EM>, IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>i</STRONG></FONT>] and [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>u</STRONG></FONT>]. - Example sound files: <STRONG><FONT color="#0000FF" size="+1"><A href="Sound_Files/vowel-2.mp3">â - ę î ô ű</A></FONT> </STRONG><A href="Sound_Files/vowel-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></P> -<P align="justify">The vowel <STRONG>ä</STRONG> is slightly higher than the + Example sound files: <STRONG><FONT color="#0000FF" size="+1"><A href="Sound_Files/vowel-2.mp3">â + Ä ĂŽ Ă´ Ĺą</A></FONT> </STRONG><A href="Sound_Files/vowel-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></P> +<P align="justify">The vowel <STRONG>ä</STRONG> is slightly higher than the vowel in American English <EM>s<STRONG>a</STRONG>t </EM>but not as high as in<EM> - s<STRONG>e</STRONG>t</EM>, IPA [<STRONG>ć^</STRONG>]. The vowel <STRONG>ö</STRONG> + s<STRONG>e</STRONG>t</EM>, IPA [<STRONG>Ä^</STRONG>]. The vowel <STRONG>Ăś</STRONG> is the rounded equivalent of <STRONG>e</STRONG>, that is, the vowel in French - <EM>b<STRONG>oeu</STRONG>f</EM> or German <EM>k<STRONG>ö</STRONG>nnte</EM>, - IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT>]. - The vowel <STRONG>ë</STRONG> is pronounced somewhat like the vowel in American + <EM>b<STRONG>oeu</STRONG>f</EM> or German <EM>k<STRONG>Ăś</STRONG>nnte</EM>, + IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>Ĺ</STRONG></FONT>]. + The vowel <STRONG>ĂŤ</STRONG> is pronounced somewhat like the vowel in American English <EM>c<STRONG>u</STRONG>t</EM> or <EM>n<STRONG>u</STRONG>t</EM>, although, - more exactly, it is the Ithkuil vowel <STRONG>ô</STRONG> but without rounding + more exactly, it is the Ithkuil vowel <STRONG>Ă´</STRONG> but without rounding of the lips, a vowel which occurs in Estonian, IPA [<IMG src="assets/IPA o-unrounded.gif" width="9" height="15" align="absmiddle">]. - The vowel <STRONG>ď</STRONG> is pronounced as an unrounded <STRONG>ű</STRONG>, + The vowel <STRONG>Ä</STRONG> is pronounced as an unrounded <STRONG>Ĺą</STRONG>, an obscure vowel found in Turkish and Japanese, IPA <IMG src="assets/IPA u-unrounded.gif" width="22" height="14" align="absbottom">. - The vowel <STRONG>ü</STRONG> is pronounced as a high central rounded vowel, + The vowel <STRONG>Ăź</STRONG> is pronounced as a high central rounded vowel, as found in Norwegian <EM>h<STRONG>u</STRONG>s</EM> or the Highland Scottish pronunciation of English <EM>b<STRONG>oo</STRONG>k</EM> or <EM>g<STRONG>oo</STRONG>d</EM>, IPA [<IMG src="assets/IPA u-bar.gif" width="11" height="15" align="absmiddle">]. - The vowel <STRONG>ř</STRONG> is the rounded equivalent of <STRONG>ę</STRONG>, - as in French <EM>f<STRONG>eu</STRONG></EM> or German <EM>sch<STRONG>ö</STRONG>n</EM>, - IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ř</FONT></STRONG>]; - the vowel <STRONG>˙</STRONG> represents the front rounded vowel of French - <EM>d<STRONG>u</STRONG></EM> and German <EM><STRONG>ü</STRONG>ber</EM>, + The vowel <STRONG>Ĺ</STRONG> is the rounded equivalent of <STRONG>Ä</STRONG>, + as in French <EM>f<STRONG>eu</STRONG></EM> or German <EM>sch<STRONG>Ăś</STRONG>n</EM>, + IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Ĺ</FONT></STRONG>]; + the vowel <STRONG>Ë</STRONG> represents the front rounded vowel of French + <EM>d<STRONG>u</STRONG></EM> and German <EM><STRONG>Ăź</STRONG>ber</EM>, IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>y</STRONG></FONT>]. - Example sound files:<A href="Sound_Files/vowel-3.mp3"> <STRONG><FONT color="#0000FF" size="+1">ä</FONT></STRONG><FONT color="#0000FF" size="+1"><STRONG> - ë ď ö ř ü ˙</STRONG></FONT></A><STRONG> </STRONG><A href="Sound_Files/vowel-3.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> + Example sound files:<A href="Sound_Files/vowel-3.mp3"> <STRONG><FONT color="#0000FF" size="+1">ä</FONT></STRONG><FONT color="#0000FF" size="+1"><STRONG> + ĂŤ Ä Ăś Ĺ Ăź Ë</STRONG></FONT></A><STRONG> </STRONG><A href="Sound_Files/vowel-3.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </P> <H3 align="justify"><BR> 1.2.3 Allophonic Distinctions</H3> @@ -1253,9 +1253,9 @@ top.frames[1].location = "nav_panel1.html"; a given language, they are not random; rather, their patterns are completely regular and predictable for any given language (as is true for consonant aspiration in English). Failure to follow the rules for allophonic distinctions when learning - a foreign language will result in the speaker having a noticeable foreign - accent to native speakers of the language (as do most French, Italians, - and Spanish-speakers when trying to pronounce English top without + a foreign language will result in the speaker having a noticeable âforeign + accentâ to native speakers of the language (as do most French, Italians, + and Spanish-speakers when trying to pronounce English âtopâ without aspirating the initial <EM>t</EM>-sound, due to the lack of consonant aspiration in Romance languages.)</P> <P align="justify">The particular phonetic variants of a particular phoneme are @@ -1277,7 +1277,7 @@ top.frames[1].location = "nav_panel1.html"; <TD height="111" valign="top"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">hh</FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">The geminated version of Ithkuil h is - pronounced as a bi-dental fricative, in that the jaw is + pronounced as a âbi-dentalâ fricative, in that the jaw is completely closed and the upper and lower teeth are in near-contact along their entire length. The resulting sound is somewhat similar in timbre to both a voiceless interdental fricative (as in English <EM><STRONG>th</STRONG>in</EM>) @@ -1321,7 +1321,7 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><DIV align="justify">Normally pronounced as a voiced labio-velar approximant (i.e., labialized dorso-velar approximant) as in English wet (IPA [<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">w</FONT></STRONG>]), - when followed by the Ithkuil vowel <STRONG>ű</STRONG>, this sound, + when followed by the Ithkuil vowel <STRONG>Ĺą</STRONG>, this sound, takes on even greater lip-rounding to become a voiced labio-velar fricative (i.e., labialized dorso-velar fricative) (IPA [<IMG src="assets/IPA beta-labialized.gif" width="18" height="18" align="absbottom">]). <BR> @@ -1330,18 +1330,18 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="40" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">w</FONT></STRONG></DIV></TD> + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">wâ</FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">In this word-initial combination of voiced labio-velar approximant followed by a glottal stop is found, the <EM>w</EM> is pronounced followed by a brief high central unrounded vowel, - Ithkuil <STRONG>ď</STRONG>, followed by the glottal stop (IPA [<IMG src="assets/w plus glottal.gif" width="22" height="14" align="absmiddle">]). + Ithkuil <STRONG>Ä</STRONG>, followed by the glottal stop (IPA [<IMG src="assets/w plus glottal.gif" width="22" height="14" align="absmiddle">]). <BR> <BR> </DIV></TD> </TR> <TR> <TD height="44" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">y</FONT></STRONG></DIV></TD> + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">yâ</FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">Similarly to the combination above, this word-initial combination has its voiced dorso-palatal approximant followed by a brief high central unrounded vowel, followed by the glottal @@ -1407,11 +1407,11 @@ top.frames[1].location = "nav_panel1.html"; tone (pitch intonation) to achieve these ends. <BR> </P> <H3 align="justify">1.3.1 Gemination</H3> -<P align="justify">Gemination refers to the audible doubling in +<P align="justify">Gemination refers to the audible âdoublingâ in length of a particular sound, usually in reference to consonants. While gemination does not occur in English on true phonological grounds, it does occur on morpho-phonological - grounds, as seen in the difference in pronunciation of the phrase a natural - versus unnatural. There are many languages, however, where phonologically-based + grounds, as seen in the difference in pronunciation of the phrase âa naturalâ + versus âunnatural.â There are many languages, however, where phonologically-based gemination is an intrinsic component of the phonology (e.g., Italian, Japanese, Finnish).</P> <P align="justify">In Ithkuil, most consonants can be geminated. Also noteworthy @@ -1463,10 +1463,10 @@ top.frames[1].location = "nav_panel1.html"; <P align="justify">The aspirated plosives <STRONG><IMG src="assets/1-3-1-3b.gif" width="135" height="17" align="absbottom"></STRONG> are likewise held momentarily before release, the aspiration occurring upon release, much like the two <EM>t</EM>-sounds in the English phrase <EM>ho<STRONG>t - t</STRONG>ar</EM> when spoken rapidly. Similarly, the ejective plosives <FONT face="Arial, Helvetica, sans-serif"><STRONG>k, - <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom">, - p, q, </STRONG></FONT>and<FONT face="Arial, Helvetica, sans-serif"><STRONG> - t</STRONG></FONT> are also held momentarily before release, the glottalic + t</STRONG>ar</EM> when spoken rapidly. Similarly, the ejective plosives <FONT face="Arial, Helvetica, sans-serif"><STRONG>kâ, + <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom">â, + pâ, qâ, </STRONG></FONT>and<FONT face="Arial, Helvetica, sans-serif"><STRONG> + tâ</STRONG></FONT> are also held momentarily before release, the glottalic ejectivization occurring upon release. Example sound files:</P> <BLOCKQUOTE> <P align="justify"><A href="Sound_Files/cons-36a.mp3"><IMG src="assets/cons-36a.gif" width="242" height="16" border="0"></A> @@ -1478,12 +1478,12 @@ top.frames[1].location = "nav_panel1.html"; stop (plosive) component of the affricate before releasing it into the fricative or sibilant portion. Aspiration or ejectivization, if present, occurs during release of the plosive into the sibilant or fricative component, e.g., <IMG src="assets/Cv-geminate.gif" width="18" height="15" align="absmiddle"> - is pronounced as IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>tt</STRONG></FONT>]. + is pronounced as IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>ttĹĄ</STRONG></FONT>]. For those affricates which can appear as word-final geminates (<IMG src="assets/1-3-1-3d.gif" width="137" height="16" align="absbottom">), geminated pronunciation in word-final position is achieved by simply lengthening the sibilant continuant portion of the affricate (i.e., the second sound of each affricate). Thus, <IMG src="assets/Cv-geminate.gif" width="18" height="15" align="absmiddle"> - in word-final position is pronounced as IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT>], + in word-final position is pronounced as IPA [<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>tĹĄĹĄ</STRONG></FONT>], <IMG src="assets/Qv-geminated.gif" width="19" height="18" align="absbottom"> as IPA [<IMG src="assets/IPA l lambda-bar plus l-loop.gif" width="21" height="14" align="absmiddle">]. Example sound files: </P> @@ -1498,14 +1498,14 @@ top.frames[1].location = "nav_panel1.html"; </BLOCKQUOTE> <P align="justify"><STRONG>1.3.1.4 Romanized Orthography of Geminates</STRONG>. Single character consonants are simply written double when geminated, e.g., - <STRONG> <FONT face="Arial, Helvetica, sans-serif">bb, dd, nn, </FONT></STRONG>. + <STRONG> <FONT face="Arial, Helvetica, sans-serif">bb, dd, nn, ĹĄĹĄ</FONT></STRONG>. Aspirated digraph-consonants have the first letter of the digraph written doubled followed by a single superscript h, e.g., <IMG src="assets/1-3-1-4a.gif" width="118" height="17" align="absbottom"> Geminated ejective consonants are likewise written with the initial character doubled followed by a single apostrophe, e.g., <IMG src="assets/1-3-1-4b.gif" width="87" height="18" align="absbottom"> - Exceptions to this rule exist for the ejective affricates <STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT></STRONG>, - <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG>, - and <STRONG><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"></STRONG>. + Exceptions to this rule exist for the ejective affricates <STRONG><FONT face="Arial, Helvetica, sans-serif">ç</FONT>â</STRONG>, + <STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT>â</STRONG>, + and <STRONG><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom">â</STRONG>. Because the non-apostrophed forms of these three characters do not correspond to non-ejectivized versions of the apostrophed form, these geminates are written as <IMG src="assets/1-3-1-4c.gif" width="116" height="18" align="absbottom"></P> @@ -1515,7 +1515,7 @@ top.frames[1].location = "nav_panel1.html"; Southeast Asian languages as well as most of the sub-Saharan African languages and some American Indian languages. This means that pitch or tone of voice is used to convey grammatical information, unlike Western languages which use tone - and pitch changes supra-segmentally to mark various morpho-semantic + and pitch changes âsupra-segmentallyâ to mark various morpho-semantic features. For example, in English rising intonation of the voice signals a question, while other specific pitch contours signify emphasis, disgust, irony, and other attitudes. Ithkuil marks such features morphologically, i.e., within the words @@ -1589,17 +1589,17 @@ top.frames[1].location = "nav_panel1.html"; <TD>The grave accent ( <STRONG><FONT size="4" face="Arial, Helvetica, sans-serif">`</FONT></STRONG> ) designates an unstressed syllable when stress would otherwise be misinterpreted, e.g., in distinguishing monosyllabic diphthongs such as <STRONG>au</STRONG> - and <STRONG>ei</STRONG> from dissyllabic vowel conjuncts <STRONG>aů - </STRONG>and<STRONG> eě</STRONG>.</TD> + and <STRONG>ei</STRONG> from dissyllabic vowel conjuncts <STRONG>aĹŻ + </STRONG>and<STRONG> eÄ</STRONG>.</TD> </TR> <TR valign="top"> <TD height="70">3)</TD> <TD><STRONG>Penultimate stress</STRONG>. Polysyllabic words having penultimate stress are unmarked for stress, except for those containing the dissyllabic - phonemes <STRONG>ě</STRONG> or <STRONG>ů</STRONG> as the penultimate - syllable, which, if stressed, take an acute accent, e.g., the word <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>iskoůt</STRONG></FONT> + phonemes <STRONG>Ä</STRONG> or <STRONG>ĹŻ</STRONG> as the penultimate + syllable, which, if stressed, take an acute accent, e.g., the word <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>iskoĹŻt</STRONG></FONT> (stress on the <STRONG>o</STRONG>), if adding the syllable -<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>ma</STRONG></FONT>, - becomes <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>iskoútma</STRONG></FONT> + becomes <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>iskoĂştma</STRONG></FONT> (stress on the <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">u</FONT></STRONG>).</TD> </TR> <TR valign="top"> @@ -1612,21 +1612,21 @@ top.frames[1].location = "nav_panel1.html"; <TD><UL> <LI>the unmarked vowels <STRONG>a</STRONG>, <STRONG>e</STRONG>, <STRONG>i</STRONG>, <STRONG>o</STRONG>, <STRONG>u</STRONG>, and the marked disyllabic vowels - <STRONG>ě</STRONG> and <STRONG>ů</STRONG> take an acute - accent, e.g., <STRONG>á</STRONG>, <STRONG>é</STRONG>, - <STRONG>í</STRONG>, <STRONG>ó</STRONG>, <STRONG>ú</STRONG>.</LI> + <STRONG>Ä</STRONG> and <STRONG>ĹŻ</STRONG> take an acute + accent, e.g., <STRONG>ĂĄ</STRONG>, <STRONG>ĂŠ</STRONG>, + <STRONG>Ă</STRONG>, <STRONG>Ăł</STRONG>, <STRONG>Ăş</STRONG>.</LI> <LI>if the vowel to be stressed already carries a diacritic mark (other than the grave accent) and the vowel, diphthong, or syllabic liquid or nasal in the penultimate syllable does not, then this penultimate - syllable takes a grave accent, e.g., <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">rňihnäl</FONT></STRONG>.</LI> + syllable takes a grave accent, e.g., <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">rĹihnäl</FONT></STRONG>.</LI> <LI>If the word has at least three syllables and the vowels or diphthongs in the last two syllables carry diacritics, then a grave accent over the antepenultimate (third-from-last) syllable implies ultimate stress (as the grave accent would be unnecessary if the word carried penultimate - stress), e.g. <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ňspätlök</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">.</FONT></LI> + stress), e.g. <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ĹspätlĂśk</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">.</FONT></LI> <LI>if the vowels (or diphthongs) in both the ultimate and penultimate syllables already have diacritic marks (other than the grave accent) - then the stressed vowel is written double, e.g., <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>ksűtpäär</STRONG></FONT>. + then the stressed vowel is written double, e.g., <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>ksĹątpäär</STRONG></FONT>. </LI> </UL></TD> </TR> @@ -1640,18 +1640,18 @@ top.frames[1].location = "nav_panel1.html"; <TD><UL> <LI>if the stressed vowel (or diphthong or syllabic liquid or nasal consonant) does not carry a diacritic (other than the grave accent), it takes the - acute accent, e.g., áksiyor</LI> + acute accent, e.g., ĂĄksiyor</LI> <LI>if the stressed vowel already has a diacritic (other than the grave accent), then use the grave accent plus the lack of acute accent on the ultimate syllable or other non-diacriticized vowels to indicate - stress, e.g., <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ëitlŕrrun</FONT></STRONG>, - <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ôrümzěl</FONT></STRONG>. + stress, e.g., <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ĂŤitlĹrrun</FONT></STRONG>, + <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Ă´rĂźmzÄl</FONT></STRONG>. (Note that the use of the grave accent over the <STRONG>i</STRONG> in - <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ôrümzěl</FONT></STRONG> + <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Ă´rĂźmzÄl</FONT></STRONG> would be unnecessary if the word carried penultimate stress, therefore its presence implies antepenultimate stress). </LI> <LI>if existing diacritics prevent clear indication using the above rules, - then the stressed vowel is written doubled, e.g., <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>öömoläk</STRONG></FONT>.</LI> + then the stressed vowel is written doubled, e.g., <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>ÜÜmoläk</STRONG></FONT>.</LI> </UL></TD> </TR> <TR valign="top"> @@ -1683,7 +1683,7 @@ top.frames[1].location = "nav_panel1.html"; <P align="justify">Equally important are the optional rules each language employs to achieve euphony and greater ease of pronunciation, known as phonaesthetics or phonaesthetic rules. Together, phonotaxis and phonaesthetics are greatly - responsible for the phonetic character or subjective sound + responsible for the phonetic âcharacterâ or subjective âsoundâ of a given language. The phonotactic and phonaesthetic rules for Ithkuil are described in the sections below.</P> <H3 align="justify"><BR> @@ -1710,13 +1710,13 @@ top.frames[1].location = "nav_panel1.html"; fricative continuant</EM></FONT></FONT></DIV></TD> <TD valign="middle"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">s, h,<IMG src="assets/r-cedilla.gif" width="8" height="14" align="absbottom">, - ll, mm, pçç</FONT></STRONG></TD> + ll, mm, pçç</FONT></STRONG></TD> </TR> <TR> <TD height="32" valign="middle"><FONT size="2" face="Arial, Helvetica, sans-serif">Monosyllabic</FONT></TD> <TD valign="middle"> <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>(C)(C)(C)V(C)(C)(C)</STRONG></FONT></DIV></TD> - <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">a, ui, öt, - isk, du, tuil, kleb, tliqs, pskarn, xxort</FONT></STRONG></TD> + <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">a, ui, Ăśt, + isk, du, tuil, kleb, tliqs, pskarn, xxorĹĄt</FONT></STRONG></TD> </TR> <TR> <TD height="30" valign="middle"><FONT size="2" face="Arial, Helvetica, sans-serif">Word-initial</FONT></TD> @@ -1725,10 +1725,10 @@ top.frames[1].location = "nav_panel1.html"; <IMG src="assets/r-cedilla.gif" width="8" height="14" align="absbottom">, <STRONG>m</STRONG>, <STRONG>n</STRONG>, <IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom"></FONT></DIV></TD> <TD><FONT size="2"><STRONG><FONT color="#0000FF" face="Arial, Helvetica, sans-serif">u</FONT><FONT face="Arial, Helvetica, sans-serif">ran, - <FONT color="#0000FF">ta</FONT>hin, <FONT color="#0000FF">ui</FONT>wá, + <FONT color="#0000FF">ta</FONT>hin, <FONT color="#0000FF">uiâ</FONT>wĂĄ, <FONT color="#0000FF">pri</FONT>nu, <FONT color="#0000FF">klat</FONT>ma, <FONT color="#0000FF">xmois</FONT>kra, <FONT color="#0000FF">kstol</FONT>lap, - <FONT color="#0000FF">ltuir</FONT>bis, <FONT color="#0000FF">mpeil</FONT>tum</FONT></STRONG></FONT></TD> + <FONT color="#0000FF">ltuir</FONT>bis, <FONT color="#0000FF">mpeil</FONT>tâum</FONT></STRONG></FONT></TD> </TR> <TR> <TD valign="middle"><FONT size="2" face="Arial, Helvetica, sans-serif">Word-medial</FONT></TD> @@ -1738,7 +1738,7 @@ top.frames[1].location = "nav_panel1.html"; <STRONG>m</STRONG>, <STRONG>n</STRONG>, <IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom"></FONT></DIV></TD> <TD valign="middle"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">ki<FONT color="#0000FF">a</FONT>lun, ru<FONT color="#0000FF">en</FONT>tik, is<FONT color="#0000FF">teix</FONT>lam, - ďk<FONT color="#0000FF">spűz</FONT>qai, <IMG src="assets/1-4-1a.gif" width="68" height="16" align="texttop"></FONT></STRONG></TD> + Äk<FONT color="#0000FF">spĹąz</FONT>qai, <IMG src="assets/1-4-1a.gif" width="68" height="16" align="texttop"></FONT></STRONG></TD> </TR> <TR> <TD valign="middle"><FONT size="2" face="Arial, Helvetica, sans-serif">Word-final</FONT></TD> @@ -1747,8 +1747,8 @@ top.frames[1].location = "nav_panel1.html"; <IMG src="assets/r-cedilla.gif" width="8" height="14" align="absbottom">, <STRONG>m</STRONG>, <STRONG>n</STRONG>, <IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom"></FONT></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">lu<FONT color="#0000FF">a</FONT>, - an<FONT color="#0000FF">toi</FONT>, ti<FONT color="#0000FF">al</FONT>, eif<FONT color="#0000FF">qés</FONT>, - pox<FONT color="#0000FF">urn</FONT>, ul<FONT color="#0000FF">trönn</FONT>, + an<FONT color="#0000FF">toi</FONT>, ti<FONT color="#0000FF">al</FONT>, eif<FONT color="#0000FF">qĂŠs</FONT>, + pox<FONT color="#0000FF">ĹĄurn</FONT>, ul<FONT color="#0000FF">trĂśnn</FONT>, <IMG src="assets/1-4-1b.gif" width="25" height="16" align="baseline"> </FONT></STRONG></TD> </TR> @@ -1777,9 +1777,9 @@ top.frames[1].location = "nav_panel1.html"; <H3 align="justify">1.4.2 Diphthongs</H3> <P align="justify"> An Ithkuil syllable may contain one diphthong (a combination of two vowels pronounced together as one syllable). All Ithkuil diphthongs are - falling diphthongs, i.e., the first vowel of the diphthong receives + âfallingâ diphthongs, i.e., the first vowel of the diphthong receives the primary articulation while the second becomes semi-vocalic (sometimes referred - to as semi-consonantal or an off-glide). There are 24 diphthongs + to as semi-consonantal or an âoff-glideâ). There are 24 diphthongs in Ithkuil, described as follows:</P> <TABLE width="100%" border="0" cellpadding="0"> <TBODY><TR> @@ -1793,11 +1793,11 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="33" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">äi + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">äi <A href="Sound_Files/vowel-5.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No English Equivalent. A combination - of the Ithkuil vowel <STRONG>ä</STRONG> plus an English <EM>y</EM>-sound. + of the Ithkuil vowel <STRONG>ä</STRONG> plus an English <EM>y</EM>-sound. </DIV></TD> </TR> <TR> @@ -1809,7 +1809,7 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="55" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ëi + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ĂŤi <A href="Sound_Files/vowel-7.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No standard English equivalent; a combination @@ -1826,11 +1826,11 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="55" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">öi + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ăśi <A href="Sound_Files/vowel-9.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No English Equivalent. A combination - of the Ithkuil vowel <STRONG>ö</STRONG> plus an English <EM>y</EM>-sound. + of the Ithkuil vowel <STRONG>Ăś</STRONG> plus an English <EM>y</EM>-sound. Somewhat like the French word <EM>oeil</EM>. </DIV></TD> </TR> <TR> @@ -1839,10 +1839,10 @@ top.frames[1].location = "nav_panel1.html"; <A href="Sound_Files/vowel-10.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">As in Spanish or Italian; no English - equivalent. A combination of Spanish or Italian pure <EM>u</EM> + equivalent. A combination of Spanish or Italian âpureâ <EM>u</EM> (i.e., without the glide into -<EM>w</EM> as in English <EM>rude</EM>) + an English <EM>y</EM>-sound. The speaker should avoid allowing this - diphthong to become a rising diphthong where the <EM>u</EM>-sound + diphthong to become a ârisingâ diphthong where the <EM>u</EM>-sound is reduced to a <EM>w</EM>- (the result sounding like English <EM>wee</EM>). </DIV></TD> </TR> @@ -1856,11 +1856,11 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="31" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">äu + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">äu <A href="Sound_Files/vowel-12.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No English Equivalent. A combination - of the Ithkuil vowel <STRONG>ä</STRONG> plus an English <EM>w</EM>-sound. + of the Ithkuil vowel <STRONG>ä</STRONG> plus an English <EM>w</EM>-sound. </DIV></TD> </TR> <TR> @@ -1869,13 +1869,13 @@ top.frames[1].location = "nav_panel1.html"; <A href="Sound_Files/vowel-13.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">As in Spanish or Italian; no English - equivalent. A combination of pure <EM>e</EM> (i.e., without - the glide into y as in English <EM>they</EM>) + an English <EM>w</EM>-sound. + equivalent. A combination of âpureâ <EM>e</EM> (i.e., without + the glide into ây as in English <EM>they</EM>) + an English <EM>w</EM>-sound. </DIV></TD> </TR> <TR> <TD height="50" valign="top"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ëu + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ĂŤu <A href="Sound_Files/vowel-14.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No standard English equivalent; a combination @@ -1890,7 +1890,7 @@ top.frames[1].location = "nav_panel1.html"; </FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">No English equivalent; a combination of the Ithkuil vowel <STRONG>i</STRONG> (which is more open than the Spanish - or Italian pure <EM>i</EM> (i.e., closer to English <EM>i</EM> + or Italian âpureâ <EM>i</EM> (i.e., closer to English <EM>i</EM> in <EM>bit</EM>) + an English <EM>w</EM>-sound. </DIV></TD> </TR> <TR> @@ -1904,17 +1904,17 @@ top.frames[1].location = "nav_panel1.html"; </TR> <TR> <TD height="52" valign="top"> - <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>öu<FONT face="Arial, Helvetica, sans-serif"> + <DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ăśu<FONT face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/vowel-17.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></FONT></DIV></TD> <TD valign="top"><DIV align="justify">No English Equivalent. A combination - of the Ithkuil vowel <STRONG>ö</STRONG> plus an English <EM>w</EM>-sound. + of the Ithkuil vowel <STRONG>Ăś</STRONG> plus an English <EM>w</EM>-sound. Somewhat like an exaggerated upper class British pronunciation of the word <EM>oh!</EM>. </DIV></TD> </TR> <TR> - <TD colspan="2" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">_</FONT>aď, - eď, ëď, iď, oď, uď <FONT face="Arial, Helvetica, sans-serif"> + <TD colspan="2" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">_</FONT>aÄ, + eÄ, ĂŤÄ, iÄ, oÄ, uÄ <FONT face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/vowel-18.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></FONT><FONT face="Arial, Helvetica, sans-serif"> </FONT></STRONG></FONT></DIV></TD> </TR> @@ -1922,9 +1922,9 @@ top.frames[1].location = "nav_panel1.html"; <TD height="132" valign="top"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG></DIV></TD> <TD valign="top"><DIV align="justify">Each of these is a combination of a - vowel with the back central vowel <STRONG>ď</STRONG>. No English + vowel with the back central vowel <STRONG>Ä</STRONG>. No English equivalents, although the sound can be approximated by pronouncing the - first vowel followed by the velarized dark <EM>l</EM>-sound + first vowel followed by the velarized âdarkâ <EM>l</EM>-sound of American English <EM>lull</EM> but without touching the tip of the tongue to the gum ridge behind the upper teeth; the tongue tip should remain low instead. The resulting diphthongs should sound somewhat like @@ -1935,30 +1935,30 @@ top.frames[1].location = "nav_panel1.html"; may be represented as <IMG src="assets/1-4-2a.gif" width="251" height="19" align="absbottom"></DIV></TD> </TR> <TR> - <TD colspan="2" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">_</FONT>äď, - öď, üď<FONT face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/vowel-19.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></FONT></STRONG></FONT></DIV></TD> + <TD colspan="2" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">_</FONT>äÄ, + ĂśÄ, ĂźÄ<FONT face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/vowel-19.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A></FONT></STRONG></FONT></DIV></TD> </TR> <TR> <TD height="56" valign="top"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> <TD valign="top"><DIV align="justify">As with the series of diphthongs immediately - above, these are combinations of the Ithkuil vowels <STRONG>ä</STRONG>, - <STRONG>ö</STRONG>, and <STRONG>ü</STRONG> with the back central - vowel <STRONG>ď</STRONG>. IPA<IMG src="assets/1-4-2b.gif" width="129" height="18" align="absbottom"></DIV></TD> + above, these are combinations of the Ithkuil vowels <STRONG>ä</STRONG>, + <STRONG>Ăś</STRONG>, and <STRONG>Ăź</STRONG> with the back central + vowel <STRONG>Ä</STRONG>. IPA<IMG src="assets/1-4-2b.gif" width="129" height="18" align="absbottom"></DIV></TD> </TR> <TR> <TD valign="top"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ae<FONT face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/vowel-20.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle"></A> </FONT></STRONG></FONT></DIV></TD> <TD valign="top"><DIV align="justify">No English equivalent. A combination - of Ithkuil <STRONG>a</STRONG> + <STRONG>ę</STRONG>. Sounds like - a more open version of Ithkuil <STRONG>ai</STRONG>. Tolkiens + of Ithkuil <STRONG>a</STRONG> + <STRONG>Ä</STRONG>. Sounds like + a more âopenâ version of Ithkuil <STRONG>ai</STRONG>. Tolkienâs Sindarin language also has this diphthong.</DIV></TD> </TR> </TBODY></TABLE> <P align="justify">All other combinations of vowels are dissyllabic, i.e., are pronounced as two separate syllables. Care should be taken to avoid collapsing the many two-vowel combinations beginning with <STRONG>u</STRONG>- and <STRONG>i</STRONG>- - into rising diphthongs beginning with a <EM>w</EM>-sound or <EM>y</EM>-sound. + into ârisingâ diphthongs beginning with a <EM>w</EM>-sound or <EM>y</EM>-sound. This is especially important when the second vowel of these combinations receives the syllabic stress. </P> <H3 align="justify"><BR> @@ -1970,10 +1970,10 @@ top.frames[1].location = "nav_panel1.html"; <LI> <DIV align="justify">In a word of two syllables or more, the only vowels, diphthongs, or vowel conjuncts that may occur in word-final position are: - -<STRONG>a</STRONG>, -<STRONG>â</STRONG>, -<STRONG>ď</STRONG>, - -<STRONG>u</STRONG>, -<STRONG>ü</STRONG>, <STRONG>ű</STRONG>, + -<STRONG>a</STRONG>, -<STRONG>â</STRONG>, -<STRONG>Ä</STRONG>, + -<STRONG>u</STRONG>, -<STRONG>Ăź</STRONG>, <STRONG>Ĺą</STRONG>, -<STRONG>ia</STRONG>, -<STRONG>ua</STRONG> and diphthongs ending in <STRONG>i</STRONG>, - <STRONG>u</STRONG>, or <STRONG>ď</STRONG>. Note that this constraint + <STRONG>u</STRONG>, or <STRONG>Ä</STRONG>. Note that this constraint does not apply to monosyllabic words.<BR> </DIV> </LI> @@ -1991,11 +1991,11 @@ top.frames[1].location = "nav_panel1.html"; and <IMG src="assets/Yv.gif" width="12" height="19" align="absbottom">cannot appear in syllable-final position and must always be followed by a vowel, or in the case of <STRONG>w</STRONG> and <STRONG>y</STRONG>, by a glottal - stop plus a vowel (e.g., <STRONG>w</STRONG>+vowel).<BR> + stop plus a vowel (e.g., <STRONG>wâ</STRONG>+vowel).<BR> </DIV> </LI> <LI> - <DIV align="justify">The glottal stop (<STRONG></STRONG>) does not + <DIV align="justify">The glottal stop (<STRONG>â</STRONG>) does not occur word-initially except as a juncture feature (i.e., where two separate words come together). Specifically, when a word ends in a vowel and the next word begins with a vowel, Ithkuil phonetically separates the words @@ -2054,8 +2054,8 @@ top.frames[1].location = "nav_panel1.html"; Ithkuil. </P> <UL> <LI> - <DIV align="justify">While open syllables (syllables ending - in a single vowel) are tolerated in Ithkuil, closed syllables + <DIV align="justify">While âopenâ syllables (syllables ending + in a single vowel) are tolerated in Ithkuil, âclosedâ syllables (i.e., ending in a consonant) are preferred, especially for the stressed syllable of a word. Ithkuil morphology often allows for more than one way to structure the various morphemes of a particular word, especially words @@ -2139,7 +2139,7 @@ top.frames[1].location = "nav_panel1.html"; <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or +<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="justify"> </P> diff --git a/2004-en-alt/ithkuil-ch10-lexico-semantics.html b/2004-en-alt/ithkuil-ch10-lexico-semantics.html index 7ed5322..c3fe701 100755..100644 --- a/2004-en-alt/ithkuil-ch10-lexico-semantics.html +++ b/2004-en-alt/ithkuil-ch10-lexico-semantics.html @@ -107,7 +107,7 @@ words, as explained in Chapter 2. This means that the concepts chosen to be conveyed by these roots must be carefully selected to insure the widest range of conceptualization possible within such a limited framework.</P> -<P align="justify">2) We have seen throughout this work how Ithkuils matrix-like +<P align="justify">2) We have seen throughout this work how Ithkuilâs matrix-like grammatical structure allows for an incredible amount of synergy in terms of morphological word-derivation, generating wholly new, emergent concepts from word-roots, not simply mere conjugations, declensions, and transparent derivations. @@ -118,15 +118,15 @@ go in to the assigning of concepts to those 3600 roots, in order to optimally accomplish what has been demonstrated throughout this work: using the dynamics of Ithkuil morphology to eliminate the need for the hundred thousand or more - autonomous word roots of natural languages, or to put it colloquially, getting - the most lexico-semantic bang for the morpho-phonological buck. </P> + autonomous word roots of natural languages, or to put it colloquially, âgetting + the most lexico-semantic bang for the morpho-phonological buck.â </P> <P align="justify">We will start first with a review of key components in the systemic design of Ithkuil morphology. This will be followed by sections on those areas of Ithkuil lexico-semantics which are most profoundly distinct from Western languages. </P> <P align="justify">The last section deals with comparison to Western categorizations, examining how Ithkuil lexico-semantics reinterprets certain concepts considered - fundamental in English and other Western languages.</P> + âfundamentalâ in English and other Western languages.</P> <P> </P> <TABLE width="99%" border="0" cellpadding="0" bgcolor="#CCCCCC"> @@ -151,12 +151,12 @@ system of vowel patterns and mutation, we saw how a single root generates no less than eighteen formative stems, each functioning as a noun or verb. This is illustrated below using the example root <FONT face="Arial, Helvetica, sans-serif"><STRONG>h-f</STRONG></FONT> - <FONT size="2">TRANSLATIVE MOTION</FONT>. </P> + â<FONT size="2">TRANSLATIVE MOTION</FONT>â. </P> <P align="justify"><IMG src="assets/10-1-1a.gif" width="726" height="349"></P> <P align="justify"></P> <P align="justify">As described in Chapter 2, this hierarchical pattern of stem derivation and division into complementary stems from a more basic or underlying - holistic stem allows for significant collapsing in the number + âholisticâ stem allows for significant collapsing in the number of word-roots necessary compared to Western languages, as words that are semantically interrelated in a hierarchical or complementary fashion can be derived morphologically from a basic root, as opposed to being assigned separate word-roots as in other @@ -166,14 +166,14 @@ MOTION</FONT>. All such complementary stems based on participant perspective are similarly patterned, e.g., <EM>lead/follow, buy/sell, give/take</EM>, etc.</P> <P align="justify">Additionally, this hierarchical structure of stem derivation - from a single root using vocalic infixes allows for the creation of built-in + from a single root using vocalic infixes allows for the creation of âbuilt-inâ classification schemes and taxonomies for concepts which require them. Biological taxonomies, for example, can be easily accommodated under this scheme, as illustrated below:</P> <P align="justify"><IMG src="assets/10-1-1b.gif" width="725" height="349"></P> <P align="justify">Using the nine degrees of the <A href="ithkuil-ch7b-affixes-contd.htm#SSDaffix">Stem Specific Derivative <IMG src="assets/10-1-1c.gif" width="34" height="18" border="0" align="absmiddle"> - affix</A> <FONT face="Arial, Helvetica, sans-serif"><STRONG>-V<FONT size="1">1</FONT>t</STRONG></FONT> + affix</A> <FONT face="Arial, Helvetica, sans-serif"><STRONG>-V<FONT size="1">1</FONT>tâ</STRONG></FONT> from Sec. 7.7.13 on such a root, we can extend this scheme to denote specific parts, products or derived resources such as a the milk, oil, meat, skin or hide, tail, tusk or horn, hair or fur (e.g., wool), etc. The <A href="ithkuil-ch7b-affixes-contd.htm#MATaffix">Degree @@ -194,17 +194,17 @@ <H3 align="justify"><BR> 10.1.2 The Use of Affixes<A name="Sec10o1o2"></A></H3> <P align="justify">In Chapter 7, we saw how many of the 150-odd affix categories - can be used to generate both derivative concepts (e.g., <EM><STRONG>xäl</STRONG></EM> - hill + V<FONT size="1">1</FONT><STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG>/7 - very large <IMG src="assets/arrow.gif" width="17" height="9"> - <STRONG><EM>xälďx</EM></STRONG> very large hill) as - well as amalgamated gestalts carrying a new holistic meaning (e.g., <EM><STRONG>xäl</STRONG></EM> - hill + V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT>/7 - very large <IMG src="assets/arrow.gif" width="17" height="9"> - <STRONG><EM>xälëx</EM></STRONG> mountain). As an example, + can be used to generate both derivative concepts (e.g., <EM><STRONG>xäl</STRONG></EM> + âhillâ + V<FONT size="1">1</FONT><STRONG><FONT face="Arial, Helvetica, sans-serif">x</FONT></STRONG>/7 + âvery largeâ <IMG src="assets/arrow.gif" width="17" height="9"> + <STRONG><EM>xälÄx</EM></STRONG> âvery large hillâ) as + well as amalgamated gestalts carrying a new holistic meaning (e.g., <EM><STRONG>xäl</STRONG></EM> + âhillâ + V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT>/7 + âvery largeâ <IMG src="assets/arrow.gif" width="17" height="9"> + <STRONG><EM>xälĂŤx</EM></STRONG> âmountainâ). As an example, here are only ten of the various new concepts which can be derived through affixes - from the stem <EM><STRONG>köl</STRONG></EM> say something [i.e., - communicate a verbal message]:</P> + from the stem <EM><STRONG>kĂśl</STRONG></EM> âsay something [i.e., + communicate a verbal message]â:</P> <DIV align="justify"> <BLOCKQUOTE> </BLOCKQUOTE> </DIV> @@ -237,8 +237,8 @@ <BLOCKQUOTE> <P align="justify"><IMG src="assets/10-1-2l.gif" width="287" height="33"><BR> <EM><IMG src="assets/10-1-2k.gif" width="488" height="46"><BR> - Aided by the birds own stupidity, the man unexpectedly and accidentally - killed it without even realizing hed done so, by inadvertently letting + Aided by the birdâs own stupidity, the man unexpectedly and accidentally + killed it without even realizing heâd done so, by inadvertently letting it out of the house.<FONT color="#FFFFFF"><FONT size="1" face="Arial, Helvetica, sans-serif">_________</FONT></FONT></EM><FONT color="#FFFFFF"><FONT size="1" face="Arial, Helvetica, sans-serif">_</FONT></FONT><FONT size="1" face="Arial, Helvetica, sans-serif"> <A href="Sound_Files/Intro-4.mp3">Listen:</A></FONT><EM> <A href="Sound_Files/Intro-4.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></EM></P> </BLOCKQUOTE> @@ -246,7 +246,7 @@ The <IMG src="assets/10-1-2i.gif" width="34" height="23" align="absmiddle"> affix from <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o9">Sec. 7.7.9</A>, in first degree, roughly corresponds to the reversive prefixes of English such - as un-, de-, and dis- to indicate + as âun-,â âde-,â and âdis-â to indicate the undoing or opposite of a word. However, in Ithkuil this affix is productive for all semantically applicable stems and operates in conjunction with Modality categories (<A href="ithkuil-ch5b-verbs-contd.htm#Sec5o5">Sec. 5.5</A>) and Modality @@ -318,7 +318,7 @@ personality<BR> craftsmanship <IMG src="assets/arrow.gif"> artistry<BR> career <IMG src="assets/arrow.gif"> livelihood<BR> - (ones) past <IMG src="assets/arrow.gif"> (ones) + (oneâs) past <IMG src="assets/arrow.gif"> (oneâs) life<BR> to look after/tend <IMG src="assets/arrow.gif"> nurture</EM></P> </BLOCKQUOTE> @@ -398,7 +398,7 @@ movement, motion, or intensity. As an example, specific application of the various phases combined with the aforementioned affixes and other affix categories to a single stem <IMG src="assets/10-1-5d.gif" width="27" height="19" align="absmiddle"> - [make] sound can give rise to translations for all of the following + â[make] soundâ can give rise to translations for all of the following English words:</P> <DIV align="justify"> <TABLE width="71%" border="0" cellspacing="1" cellpadding="1"> @@ -528,7 +528,7 @@ <TR> <TD><DIV align="center">1</DIV></TD> <TD><FONT face="Arial, Helvetica, sans-serif"><STRONG>s, s </STRONG></FONT>or - <FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄ</STRONG></FONT></TD> <TD>numerical concepts, quantification, comparison, mathematics</TD> </TR> <TR> @@ -566,7 +566,7 @@ <TR> <TD><DIV align="center">7</DIV></TD> <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>f, <IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">, - ç </STRONG></FONT>or <IMG src="assets/l-cedilla.gif" width="5" height="17" align="absbottom"></TD> + ç </STRONG></FONT>or <IMG src="assets/l-cedilla.gif" width="5" height="17" align="absbottom"></TD> <TD>spatio-dimensional concepts, form and motion</TD> </TR> <TR> @@ -579,14 +579,14 @@ </TR> <TR> <TD><DIV align="center">9</DIV></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">p, t, - k </FONT></STRONG>or <STRONG><FONT face="Arial, Helvetica, sans-serif">q</FONT></STRONG></TD> + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">pâ, tâ, + kâ </FONT></STRONG>or <STRONG><FONT face="Arial, Helvetica, sans-serif">qâ</FONT></STRONG></TD> <TD>taxonomies of physical substances</TD> </TR> <TR> <TD><DIV align="center">10</DIV></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">c, </FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"></FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG> - or <IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG></TD> + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">câ, </FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"></FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG> + or <IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG></TD> <TD> relational concepts, identity, associations</TD> </TR> <TR> @@ -599,7 +599,7 @@ <TR> <TD><DIV align="center">12</DIV></TD> <TD><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18" align="absbottom">, - ç, x </FONT></STRONG>or <IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG><FONT face="Arial, Helvetica, sans-serif"> + çâ, xâ </FONT></STRONG>or <IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"><STRONG><FONT face="Arial, Helvetica, sans-serif">â </FONT></STRONG></TD> <TD>socially or externally-induced affectations</TD> </TR> @@ -613,7 +613,7 @@ <TR> <TD><DIV align="center">14</DIV></TD> <TD> <STRONG><FONT face="Arial, Helvetica, sans-serif">z, <IMG src="assets/z-cedilla.gif" width="14" height="15" align="absbottom"></FONT></STRONG>or - <FONT face="Arial, Helvetica, sans-serif"><STRONG> </STRONG> </FONT></TD> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>Ĺž </STRONG> </FONT></TD> <TD>concepts of intersocial volition and personal relations</TD> </TR> <TR> @@ -634,7 +634,7 @@ <TD><DIV align="center">17</DIV></TD> <TD><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle">, <IMG src="assets/Jv.gif" width="9" height="20" align="absmiddle">, - <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle"> + <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle">â </STRONG></FONT>or <FONT face="Arial, Helvetica, sans-serif"> </FONT><IMG src="assets/k-cedilla aspirated.gif" width="18" height="20" align="absmiddle"></TD> <TD>temporal concepts</TD> </TR> @@ -659,9 +659,9 @@ near to me</EM> and <EM>B is far from me</EM>, but rather <EM>the distance from me to A </EM>(or proximity of A to me)<EM> is less than the distance from me to B</EM> (or proximity of B to me). Note that the choice of translation for - the latter stem as either distance or proximity - becomes arbitrary, as the real meaning of the Ithkuil formative is amount - of linear space separating one party from another. Virtually all Western + the latter stem as either âdistanceâ or âproximityâ + becomes arbitrary, as the real meaning of the Ithkuil formative is âamount + of linear space separating one party from another.â Virtually all Western descriptive and dimensional oppositions are similarly handled in Ithkuil as mere variance in the quantity of a single quality, the degree of an attribute, or the extent along a spatio-temporal range or continuum.</P> @@ -679,39 +679,39 @@ <P align="justify">1) Ithkuil does not employ prepositions; all notions of spatial relationships, position, and orientation are designated by nominal/verbal formatives.</P> <P align="justify">2) While Western languages allow spatial/positional reference - to function autonomously irrespective of the speakers cognitive or semantic + to function autonomously irrespective of the speakerâs cognitive or semantic intent, Ithkuil subordinates spatial/positional reference at the lexico-semantic level in deference to the cognitive or semantic purpose of an utterance. What this means is that sentences describing spatial relationships or positional - reference are only used when the underlying intent of the speakers utterance + reference are only used when the underlying intent of the speakerâs utterance is purely to specify spatial or positional reference information. If, in fact, the underlying intent of the utterance is to show some functional or purposeful relationship (where a spatial relationship is merely coincidental or consequential), the Ithkuil sentence will describe this function or purpose, not the spatial - relationship. For example, in answer to the question <EM>Wheres Billy?</EM> - an English speaker might give answers such as (a) <EM>Hes standing right - next to Sam</EM>, or (b) <EM>Hes in bed</EM>, or (c) <EM>Hes in + relationship. For example, in answer to the question <EM>Whereâs Billy?</EM> + an English speaker might give answers such as (a) <EM>Heâs standing right + next to Sam</EM>, or (b) <EM>Heâs in bed</EM>, or (c) <EM>Heâs in the bathtub</EM>. While each of these sentences gives spatial information, only the first is truly intended to convey spatial information as its purpose, while sentences (b) and (c) imply information that is, in fact, more relevant than - the spatial information given, e.g., sentence (b) could be restated as Hes - sleeping (or sick), while sentence (c) could be restated as Hes - bathing. An Ithkuil speaker would not utter sentences like (b) or (c) - in answer to the query about Billy, since he/she would assume the question <EM>Wheres - Billy?</EM> is intended to inquire only about Billys physical position + the spatial information given, e.g., sentence (b) could be restated as âHeâs + sleeping (or sick),â while sentence (c) could be restated as âHeâs + bathing.â An Ithkuil speaker would not utter sentences like (b) or (c) + in answer to the query about Billy, since he/she would assume the question <EM>Whereâs + Billy?</EM> is intended to inquire only about Billyâs physical position in absolute space. If the questioner had, in fact, been seeking non-spatial - information, he/she would have asked the Ithkuil equivalent of <EM>Whats - Billy doing?</EM> or <EM>Whats happening with Billy?</EM> to which a + information, he/she would have asked the Ithkuil equivalent of <EM>Whatâs + Billy doing?</EM> or <EM>Whatâs happening with Billy?</EM> to which a Ithkuil speaker would answer with sentences corresponding to the rephrased versions of (b) or (c), not their original versions.</P> <P align="justify">3) Ithkuil utilizes an absolute coordinate system of comparative spacial reference, not a relative one as found in most languages. Note the positional - ambiguity inherent in sentences such as <EM>Hes standing to the left + ambiguity inherent in sentences such as <EM>Heâs standing to the left of the desk</EM>. To be meaningful, the listener must first determine from whose - perspective the speaker is referring (i.e., do we mean the speakers left, - the addressees left, the desks left relative to the position of - the speaker, the desks left relative to the position of the addressee, - or the desks left relative to the direction the desk is oriented/facing?) + perspective the speaker is referring (i.e., do we mean the speakerâs left, + the addresseeâs left, the deskâs left relative to the position of + the speaker, the deskâs left relative to the position of the addressee, + or the deskâs left relative to the direction the desk is oriented/facing?) Such ambiguity occurs because Western languages employ a relative coordinate system which can shift from one participant or referent object to another. Ithkuil spatial reference employs an absolute coordinate system independent of the perspective @@ -719,17 +719,17 @@ the thing(s) whose position is being described), as opposed to the relative coordinate system found in Western languages. The Ithkuil system allows listeners to understand exactly the spatial relationship and orientation of any object(s) - in absolute space, irrespective of anyones (or anythings) personal + in absolute space, irrespective of anyoneâs (or anythingâs) personal perspective. </P> <H3 align="justify"><BR> 10.4.1 Formatives vs. Prepositions</H3> -<P align="justify">Besides lexically partitioning the world of two- +<P align="justify">Besides lexically âpartitioningâ the world of two- and three-dimensional space in different ways than in Western languages, Ithkuil has no prepositions. Rather, Ithkuil utilizes formatives which describe a spatial relationship between two objects or between an object and an associated background, - the nearest translations being a noun meaning the area X or a - verb meaning to be positioned X, where X corresponds to a Western - preposition or positional adverb such as in or inside. + the nearest translations being a noun meaning âthe area Xâ or a + verb meaning âto be positioned Xâ, where X corresponds to a Western + preposition or positional adverb such as âinâ or âinside.â The dynamics of such formatives become very apparent when combined with the numerous verbal Conflation/Derivation + Format combinations which Ithkuil offers the speaker (see <A href="ithkuil-ch5a-verbs.htm#Sec5o4">Sec. 5.4</A>).</P> @@ -747,16 +747,16 @@ the physical coordinate position of the vase in 3-D space relative to the table, or to tell the listener that the vase is being physically supported (i.e., against gravity) by the table? If the intention is the former, the corresponding Ithkuil - sentence would indeed utilize a spatial formative translatable as manifest + sentence would indeed utilize a spatial formative translatable as âmanifest self on the top side of a surface that is horizontal relative to the direction - of gravity. However, if the intention is to actually indicate support + of gravity.â However, if the intention is to actually indicate support against gravity, the Ithkuil sentence would not utilize a spatial reference at all, but rather translate the sentence more or less as <EM>The table is supporting the vase</EM>. As a result, spatial, locative, or orientational formatives in Ithkuil are used far less often than corresponding prepositions and spatial constructions in English or other Western languages. Note the following examples - illustrating how various English sentences utilizing the concept in - (meaning inside or into) are translated into Ithkuil + illustrating how various English sentences utilizing the concept âinâ + (meaning âinsideâ or âintoâ) are translated into Ithkuil using various non-spatial roots based on reason or purpose.</P> <TABLE width="85%" border="1" cellspacing="1" cellpadding="3"> <TBODY><TR bgcolor="#CCCCCC"> @@ -780,10 +780,10 @@ <TD><EM><FONT size="2"> That box contains the book.</FONT></EM></TD> </TR> <TR valign="top"> - <TD><EM><FONT size="2">Youll find pencils in(side) the small blue can.</FONT></EM></TD> + <TD><EM><FONT size="2">Youâll find pencils in(side) the small blue can.</FONT></EM></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">incidental, temporary, or circumstantial constraint/holder to prevent spillage from gravity</FONT></TD> - <TD><EM><FONT size="2">The small blue can holds the pencils youre seeking.</FONT></EM></TD> + <TD><EM><FONT size="2">The small blue can holds the pencils youâre seeking.</FONT></EM></TD> </TR> <TR valign="top"> <TD><EM><FONT size="2">I poured soup in(to) the bowl.</FONT></EM></TD> @@ -835,15 +835,15 @@ <TD><EM><FONT size="2">I (re-)fueled the gas tank.</FONT></EM></TD> </TR> <TR valign="top"> - <TD><EM><FONT size="2">Well never know whats in(side) her head.</FONT></EM></TD> + <TD><EM><FONT size="2">Weâll never know whatâs in(side) her head.</FONT></EM></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">intangible containment</FONT></TD> - <TD><EM><FONT size="2">Well never know her thoughts.</FONT></EM></TD> + <TD><EM><FONT size="2">Weâll never know her thoughts.</FONT></EM></TD> </TR> <TR valign="top"> <TD><EM><FONT size="2"> He has a tumor in(side) his pancreas.</FONT></EM></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">enveloped to inaccessible depth by surrounding medium</FONT></TD> - <TD><EM><FONT size="2">His pancreas harbors a tumor.</FONT></EM></TD> + <TD><EM><FONT size="2">His pancreas âharborsâ a tumor.</FONT></EM></TD> </TR> <TR valign="top"> <TD height="23"><EM><FONT size="2">He hammered a nail in(to) the wall.</FONT></EM></TD> @@ -868,26 +868,26 @@ 10.4.3 Absolute vs. Relative Spatial/Positional Coordinates<A name="Sec10o4o3"></A></H3> <P align="justify">While Western languages are capable of describing the physical position and orientation of object in absolute terms (e.g., <EM>My hometown - is located at 93°41'36"W by 43°12'55"N</EM>), it is not normal + is located at 93°41'36"W by 43°12'55"N</EM>), it is not normal to do so in general parlance. Rather, Western spatial position and orientation is normally relative, i.e., described from the dynamic perspective of the two objects themselves or from the perspective of a third party observer (usually, but not exclusively, the speaker). Therefore, if I describe the position of objects in my backyard to you on the telephone, and you have never seen my backyard, - phrases such as the swingset is against the wall, the barbecue - is sitting to my right, the elm tree is behind the shed - and the rose bush is beyond the bird fountain convey little information + phrases such as âthe swingset is against the wall,â âthe barbecue + is sitting to my right,â âthe elm tree is behind the shedâ + and âthe rose bush is beyond the bird fountainâ convey little information without first having to establish a common frame of reference based on where the speaker is positioned relative to the edges of the yard (in order to interpret - what he means by beyond the fountain), which way he is facing - relative to the yard (in order to interpret what he means by to my right), + what he means by âbeyond the fountainâ), which way he is facing + relative to the yard (in order to interpret what he means by âto my rightâ), perhaps even the orientation of the shape of the yard relative to some external absolute system of orientation (e.g., the four cardinal directions N, S, E, W).</P> -<P align="justify">In such a relative scheme concepts such as to my right +<P align="justify">In such a relative scheme concepts such as âto my rightâ change completely if I turn my body 180 degrees. Confusion also occurs when - I say to the left of the chair. Do I mean to the left side of - the chair from my (the speakers) perspective? Or do I mean to the left + I say âto the left of the chair.â Do I mean to the left side of + the chair from my (the speakerâs) perspective? Or do I mean to the left side of the chair from the perspective of someone sitting in the chair?</P> <P align="justify">Ithkuil avoids such confusions by being based on an absolute coordinate system of spatial reference as opposed to a relative system (similar @@ -899,9 +899,9 @@ coordinate schemes, each functioning within a different speech context. These coordinate systems establish a three-dimensional right-angled coordinate grid superimposed upon space, with the X-axis reckoned from a line perpendicular - to the direction of gravity (which, for practical purposes, we may term horizontal), + to the direction of gravity (which, for practical purposes, we may term âhorizontalâ), the Z-axis reckoned by a line corresponding to the direction of gravity (which - may be termed the vertical) and the all-important Y-axis (which + may be termed the âverticalâ) and the all-important Y-axis (which differentiates a relative system from an absolute) derived from one of three points of reckoning depending on which coordinate scheme is being utilized. The three schemes are as follows:</P> @@ -912,11 +912,11 @@ to the X-axis is variable; i.e., the line connecting the rising and setting points of the sun merely designate the <EM>direction</EM> of the Y-axis, not it actual position. This is necessary so that descriptions of spatial relationships - can be made using a quadrant locator system based on this grid, + can be made using a âquadrant locatorâ system based on this grid, where any two objects can be made to lie within different quadrants relative to each other (this will be illustrated below). </P> <P align="justify">Use of this solar-based reckoning system continues at nighttime - and on overcast or rainy days, based on societys collective knowledge + and on overcast or rainy days, based on societyâs collective knowledge and/or recollection of landmarks indicating the rising and setting points of the sun. Use of this system even continues indoors if there exists a collective understanding of the orientation of the building/structure/room relative to @@ -936,12 +936,12 @@ <P align="justify">3) <STRONG>Arbitrarily delineated axis based on local landmarks, objects, or persons</STRONG>. This is similar to a Western relative system in which the speaker announces the orientation perspective being utilized. An Ithkuil - speaker would consider this a highly unusual and affected method + speaker would consider this a highly unusual and âaffectedâ method of reckoning. Nevertheless, it is possible to designate a personally defined reckoning system using words to designate the origin point and direction of - the Y-axis vector, examples translatable by such phrases as based on - a vector from me to that large window or based on a vector between - the shed and the big oak tree. In fact, this is the purpose of the <FONT size="2">NAVIGATIVE</FONT> + the Y-axis vector, examples translatable by such phrases as âbased on + a vector from me to that large windowâ or âbased on a vector between + the shed and the big oak tree.â In fact, this is the purpose of the <FONT size="2">NAVIGATIVE</FONT> case (see <A href="ithkuil-ch4-case.htm#Sec4o8o12">Sec. 4.8.12</A>). The primary use for this system of reckoning is literary or narrative, such as when a speaker tells a story of another time and place, in which he/she wishes @@ -950,31 +950,31 @@ <P align="justify"><BR> <STRONG>10.4.3.1 Describing Spatial Relationships between Two or More Objects</STRONG>. Using such a triaxial three-dimensional grid, Ithkuil then lexically divides - up space into quadrants, four quadrants to each given hemisphere + up space into âquadrantsâ, four quadrants to each given âhemisphereâ of absolute space delineated by the three axes, for a total of eight. (I know, I know, technically, I should use the term "octant", but considering the latter term refers to a seafaring navigational instrument, I will stick to the term "quadrant.")</P> <BLOCKQUOTE> - <P align="justify"> +X / +Y / +Z = right / ahead / above = Quadrant + <P align="justify"> +X / +Y / +Z = âright / ahead / aboveâ = Quadrant 1 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>pl - f</STRONG></FONT><BR> - +X / +Y / -Z = right / ahead / below = Quadrant 2 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom">- + +X / +Y / -Z = âright / ahead / belowâ = Quadrant 2 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom">- f</STRONG></FONT><BR> - +X / -Y / +Z = right / behind / above = Quadrant 3 = Root:<FONT face="Arial, Helvetica, sans-serif"><STRONG> + +X / -Y / +Z = âright / behind / aboveâ = Quadrant 3 = Root:<FONT face="Arial, Helvetica, sans-serif"><STRONG> r - f</STRONG></FONT><BR> - +X / -Y / -Z = right / behind / below = Quadrant 4 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/r-cedilla.gif" width="8" height="14" align="absbottom">- + +X / -Y / -Z = âright / behind / belowâ = Quadrant 4 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/r-cedilla.gif" width="8" height="14" align="absbottom">- f</STRONG></FONT><BR> - -X / +Y / +Z = left / ahead / above = Quadrant 5 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"> + -X / +Y / +Z = âleft / ahead / aboveâ = Quadrant 5 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"> - f</STRONG></FONT><BR> - -X / +Y / -Z = left / ahead / below = Quadrant 6 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>ps + -X / +Y / -Z = âleft / ahead / belowâ = Quadrant 6 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>ps - f</STRONG></FONT><BR> - -X / -Y / +Z = left / behind / above = Quadrant 7 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>ks + -X / -Y / +Z = âleft / behind / aboveâ = Quadrant 7 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>ks - f</STRONG></FONT><BR> - -X / -Y / -Z = left / behind / below = Quadrant 8 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>p<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom"> + -X / -Y / -Z = âleft / behind / belowâ = Quadrant 8 = Root: <FONT face="Arial, Helvetica, sans-serif"><STRONG>p<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom"> - f</STRONG></FONT></P> </BLOCKQUOTE> <P align="justify">There are eighteen additional roots corresponding to the above where either one or two of the X/Y/Z values are zero, indicating concepts equivalent - English phrases such as neither above nor below, straight - down, straight ahead, directly behind, straight - up, on the same plane as, etc. The above quadrants are + English phrases such as âneither above nor below,â âstraight + down,â âstraight ahead,â âdirectly behind,â âstraight + up,â âon the same plane as,â etc. The above quadrants are indicated in the illustrations below.</P> <P align="justify">Because the lateral alignment (but not direction) of the solar-based X and Y-axes are variable (i.e., each can be slid laterally relative to the @@ -994,7 +994,7 @@ <P><IMG src="assets/10-5-3-1d.gif" width="352" height="369"></P> </BLOCKQUOTE> <P align="justify"><BR> - It is the ability to slide the axes of this three-dimensional + It is the ability to âslideâ the axes of this three-dimensional grid that allows Ithkuil to easily describe the relative position of objects in an absolute manner. Because the grid can be arranged so that any two objects each fall into different quadrants, a series of quadrant-to-quadrant relationships @@ -1002,15 +1002,15 @@ stem which, in conjunction with a set of affixes, designates a spatial relationship between an object occupying that quadrant and a second object occupying any of the seven other quadrants. For the purpose of this analysis, we will call - each of these quadrant-to-quadrant static relationships a positional - frame. (the leftover affixes refer to (1) 1st object in motion while + each of these quadrant-to-quadrant static relationships a âpositional + frame.â (the leftover affixes refer to (1) 1st object in motion while 2nd object at rest, and (2) 2nd object in motion while first object at rest. Used to mark the participant nouns with motion sentences described below.) </P> <P align="justify">Additionally, such a positional reference system allows a speaker to describe exactly the spatial relationships between 2 objects in motion relative to each other. This is done in Ithkuil by stating that two object are moving from positional frame A toward positional frame B. If one remembers that, by - positional frame we mean a spatial relationship between two objects, + âpositional frameâ we mean a spatial relationship between two objects, not a specific location in space, it can be seen how such a simple formula easily describes the relative trajectories of two objects. An Ithkuil speaker is describing exactly how two objects are moving through space by stating in one short sentence @@ -1021,10 +1021,10 @@ <P align="justify">To insert a third party into a positional frame (such as describing where the speaker or addressee or third party is situated relative to the two objects described in the positional frame) a case-frame clause is added to the - sentence in the concursive case (while/during/at the time of) + sentence in the concursive case (âwhile/during/at the time ofâ) which states the positional frame between that third party and the FIRST party - (unless the 2nd party is overtly specified). Example: The dog and the - ball Md while the cat Nd, where M is the positional frame + (unless the 2nd party is overtly specified). Example: âThe dog and the + ball Mâd while the cat Nâd,â where M is the positional frame of the dog and ball and N is the positional frame between the cat and dog.</P> <P align="justify">Based on the above, we can see just how exact Ithkuil can be in describing relative position between objects in an absolute manner. This @@ -1056,15 +1056,15 @@ addition the above concepts of a positional grid for locating objects in space and in positional relation to each other, Ithkuil also employs a whole set of vocabulary to describe the physical topology, shape and internal self-orientation -of an object by itself. These are similar to words such as face, back, +of an object by itself. These are similar to words such as âface, back, front, sides, top, bottom, appendage, tail, arm, etc., although it should be noted that the equivalent Ithkuil terms are wholly autonomous and bear no metaphorical -relationship whatsoever to anthropomorphic body parts. Therefore, the legs -of a chair correspond more accurately to its supports or struts -in Ithkuil, while the face of a blackboard would correspond to a -word translatable only periphrastically as main functional surface -or primary interface area (although note that even this paraphrase -cannot avoid the anthropomorphic morpheme -face). +relationship whatsoever to anthropomorphic body parts. Therefore, the âlegsâ +of a chair correspond more accurately to its âsupportsâ or âstrutsâ +in Ithkuil, while the âfaceâ of a blackboard would correspond to a +word translatable only periphrastically as âmain functional surfaceâ +or âprimary interface areaâ (although note that even this paraphrase +cannot avoid the anthropomorphic morpheme â-faceâ). <P> </P> <TABLE width="98%" border="0" cellpadding="0" cellspacing="0" bgcolor="#CCCCCC"> <TBODY><TR> @@ -1090,19 +1090,19 @@ cannot avoid the anthropomorphic morpheme -face). <DIV align="justify">As an example of lexical generalization in Ithkuil (or over-lexicalization in English!), compare the following words for animal vocal sounds: <EM>meow, bark, whinny, chirp, moo, bray</EM>, etc. Each of these words mean merely to - make ones species-specific inherent vocal sound. Ithkuil utilizes only + make oneâs species-specific inherent vocal sound. Ithkuil utilizes only a single stem for this concept (essentially meaning <EM>vocal sound/vocalize</EM> - from the same root which gives the stem for <EM>(human) voice</EM>), - based on the logical assumption that, since cats cant bark, whinny or - moo, and dogs cant meow, whinny or moo, there is no need to differentiate + â from the same root which gives the stem for <EM>(human) voice</EM>), + based on the logical assumption that, since cats canât bark, whinny or + moo, and dogs canât meow, whinny or moo, there is no need to differentiate lexically the innate vocal sound being made by an animal if the animal making the sound is identified in the sentence. Of course, one might argue that English allows for metaphorical or similative application of such words, as in <EM>The sergeant barked out orders to the platoon</EM>, or <EM>The baby squealed in delight.</EM> Such constructions are perfectly captured in Ithkuil via the <FONT size="2"><A href="ithkuil-ch4-case.htm#Sec4o6o1">ESSIVE</A></FONT> and <FONT size="2"><A href="ithkuil-ch4-case.htm#Sec4o6o2">ASSIMILATIVE</A></FONT> - cases, as in <EM>He vocalized the orders like a dog</EM>, or <EM>The - baby vocalized like a baby piglet from feeling delight,</EM> or + cases, as in <EM>He âvocalizedâ the orders like a dog</EM>, or <EM>The + baby âvocalizedâ like a baby piglet from feeling delight,</EM> or via the manipulation of Conflation, Derivation and Format (see <A href="ithkuil-ch5a-verbs.htm#Sec5o4">Sec. 5.4</A>). </DIV> <P align="justify">Similar series of English words which reduce to a single stem @@ -1114,7 +1114,7 @@ cannot avoid the anthropomorphic morpheme -face). <P align="justify">By translative motion is meant the idea of an object moving (or being moved) from one location to another. English is particularly rich in its vocabulary to describe the various paths or trajectories of such an object, - not only in regard to the shape or form of the path or trajectory, + not only in regard to the âshapeâ or form of the path or trajectory, but also the means of initiating the movement. Thus we have terms such as <EM>to toss, throw, pitch, hurl, fling, roll, run</EM>, or <EM>pass</EM> a ball or other object. In reaching its destination, the object can <EM>fly, float, wing, @@ -1122,9 +1122,9 @@ cannot avoid the anthropomorphic morpheme -face). slide, glide, slither</EM>, or <EM>jump</EM> its way there.</P> <P align="justify">As we have seen to be the case in other contexts, Ithkuil lexifies concepts of translative motion with a focus on the contexts of purpose and outcome, - not on the innate structure of the event as an end in itself. + not on the âinnate structureâ of the event as an end in itself. Essentially, Ithkuil is less concerned with how the object gets there and is - more concerned about why its going there and whether it arrives. For + more concerned about why itâs going there and whether it arrives. For example, look at the following two columns of English sentences :</P> <DIV align="justify"> <TABLE width="65%" border="0" cellspacing="1" cellpadding="1"> @@ -1181,18 +1181,18 @@ cannot avoid the anthropomorphic morpheme -face). of distinguishing the shades of meaning present in the above examples, it should be noted that such distinctions can be easily rendered by additional affixes and words describing these concepts. For example, if it is truly necessary to - indicate that the object was flung into the basket, Ithkuil can + indicate that the object was âflungâ into the basket, Ithkuil can augment the sentence <EM>I made it end up inside the basket</EM> to include affixes which indicate use of the hand in a sudden recoil-like motion plus affixes indicating forceful and rapid arrival into the basket, the result being narrowly translatable as <EM>Using my hand in a sudden, subtle, recoil-like motion I caused it to move quickly away and end up forcefully inside the basket</EM>.</P> <P align="justify">While this would more or less accurately capture the nuances - of English flung, Ithkuil first makes us stop and ask ourselves, + of English âflung,â Ithkuil first makes us stop and ask ourselves, why is it even necessary to describe the details of the trajectory and the force initiating it? After all, in a normal everyday contextual setting, if an English - speaker were to use the verb tossed or threw or - placed or put instead of flung in + speaker were to use the verb âtossedâ or âthrewâ or + âplacedâ or âputâ instead of âflungâ in the above sentence, would his/her speaker be considered to have been given information any less sufficient or essential for understanding the message and its purpose? All of which again illustrates the dynamism of Ithkuil lexico-semantics: if @@ -1206,16 +1206,16 @@ cannot avoid the anthropomorphic morpheme -face). <H3 align="justify"> 10.5.3 No Lexification of Specific Instances of Underlying Processes</H3> <P align="justify">In regard to over-lexification in English from a Ithkuil perspective, - an example would be <EM>limp</EM>, as in to walk with a limp. + an example would be <EM>limp</EM>, as in âto walk with a limp.â Ithkuil recognizes that, in observing a person walking with a limp, it is not the condition <EM>per se</EM> that is relevant, but rather the manner in which the condition causes the person to move, i.e. asymmetrically, irregularly, discontinuously - in an unexpected way inconsistent with a normal or standard + in an unexpected way inconsistent with a ânormalâ or âstandardâ expectation of walking. Ithkuil speakers would consider English <EM>limp</EM> to represent an arbitrarily specific occurrence of an underlying state of translative movement. To a Ithkuil speaker, what is important is the way the person moves. - The idea that a person continues to have a limp even when sleeping - or sitting is considered absurd. What the person continues to have + The idea that a person continues to âhave a limpâ even when sleeping + or sitting is considered absurd. What the person âcontinues to haveâ is an underlying physical injury, abnormality, disability, illness, or deformity which causes the person to move asymmetrically when walking. Therefore, instead of <EM>He has a limp because of his war wound,</EM> a Ithkuil speaker would @@ -1223,18 +1223,18 @@ cannot avoid the anthropomorphic morpheme -face). <P align="justify">To illustrate this by analogy, consider a person who, when dancing to rock music, has a tendency to jerk his/her head to the left at the sound of the downbeat. Most English speakers would consider it ludicrous over-lexicalization - to propose a verb spreggle meaning to jerk ones - head to the left on the downbeat when dancing, as in the hypothetical + to propose a verb âspreggleâ meaning âto jerk oneâs + head to the left on the downbeat when dancing,â as in the hypothetical sentence <EM>She spreggles to rock music</EM>. Yet, from the Ithkuil standpoint, - there is no difference in arbitrariness between the hypothetical spreggle - and the actual word limp.</P> + there is no difference in arbitrariness between the hypothetical âspreggleâ + and the actual word âlimp.â</P> <P align="justify">Based on a combination of the above reasoning surrounding both - animal vocal sounds and limp, Ithkuil has no words for blind(ness), - deaf(ness), mute(ness), dementia, - or paralysis. In Ithkuil, one simply says <EM>He cant see, - She cant hear, She cant speak, He cant think, He cant + animal vocal sounds and âlimp,â Ithkuil has no words for âblind(ness),â + âdeaf(ness),â âmute(ness),â âdementia,â + or âparalysis.â In Ithkuil, one simply says <EM>He canât see, + She canât hear, She canât speak, He canât think, He canât move</EM>, or alternately <EM>His faculty of sight </EM>(or other sense or innate - faculty)<EM> doesnt function/no longer functions</EM>. [Note: each of + faculty)<EM> doesnât function/no longer functions</EM>. [Note: each of these sentences would, of course, employ appropriate morphological markers, case, voice, degrees of affixes, etc. to indicate the extent of functional loss, whether temporary or permanent, whether increasing or decreasing, whether externally @@ -1259,7 +1259,7 @@ cannot avoid the anthropomorphic morpheme -face). human cognition and pre-linguistic epistemological categorization as is possible in language without resorting to outright linguistic representations of pure mathematical logic. Since the inner mental life of the speaker is often clouded - in vagueness or artificial surface categories once represented + in vagueness or artificial âsurfaceâ categories once represented in spoken languages such as English and other Eurocentric languages, a language which is focused on representing that inner mental life will necessarily require many more words to describe that life than are commonly available in existing @@ -1273,27 +1273,27 @@ cannot avoid the anthropomorphic morpheme -face). </TBODY></TABLE> <P align="justify">Western languages have several words and/or concepts for which there is no exactly corresponding equivalent in Ithkuil. These include the concepts - embodied in the verb to be and to have. Ithkuil - has no way of truly expressing copula identification corresponding to be - or being, nor any direct translation of possession or ownership - equivalent to have. Essentially this is because Ithkuil grammar + embodied in the verb âto beâ and âto have.â Ithkuil + has no way of truly expressing copula identification corresponding to âbeâ + or âbeingâ, nor any direct translation of possession or ownership + equivalent to âhave.â Essentially this is because Ithkuil grammar and lexico-semantics do not recognize inherent existential identification or inherent existential possession as true semantic functional categories or fundamental cognitive primitives.</P> <H3 align="justify"><BR> - 10.7.1 Translating To Be</H3> + 10.7.1 Translating âTo Beâ</H3> <P align="justify">Ithkuil grammar inherently recognizes that the universe is, at any and all moments, and on all scales large and small, in a state of flux. The idea that any given entity can be permanently or innately identified as - being some other entity is considered nonsensical. Ithkuil grammar - has no way of clearly indicating any such notions as being or - to be, as the universe is a universe of actions or states that + âbeingâ some other entity is considered nonsensical. Ithkuil grammar + has no way of clearly indicating any such notions as âbeingâ or + âto be,â as the universe is a universe of actions or states that are the results of actions. Even states, as such, are in flux and different from moment to moment, if only because the mere passage of time itself renders - the static condition different than it was the moment before. - Therefore, one cannot be anything else, or for that matter be - anything at all. Rather, one does or functions as - or fulfills a role as or manifests itself as something + the âstaticâ condition different than it was the moment before. + Therefore, one cannot âbeâ anything else, or for that matter âbeâ + anything at all. Rather, one âdoesâ or âfunctions asâ + or âfulfills a role asâ or âmanifests itself asâ something else. Fundamental to Ithkuil grammar are the notions of function and purpose, not mere description; results, not mere means; manifestation, not mere existence. This explains why there is no true distinction between nouns and verbs in Ithkuil, @@ -1309,8 +1309,8 @@ cannot avoid the anthropomorphic morpheme -face). manifests a green color, Stan feels ill [or carries a disease],</EM> and <EM>Murder controverts morality</EM>.</P> <H3 align="justify"><BR> - 10.7.2 Translating To Have</H3> -<P align="justify">In regard to have or having, Ithkuil + 10.7.2 Translating âTo Haveâ</H3> +<P align="justify">In regard to âhaveâ or âhaving,â Ithkuil views the concept of possession as breaking down into more specific functional states and categories, each operating independently and having little relation to each other.</P> @@ -1341,20 +1341,20 @@ cannot avoid the anthropomorphic morpheme -face). <P align="justify"><EM>How old are you?<BR> [= State the amount/number of years you have lived.]</EM></P> <H3 align="justify"><BR> - 10.7.4 Yes, No and Other Interjections</H3> + 10.7.4 âYes,â âNoâ and Other Interjections</H3> <P align="justify">As there are no interjections in Ithkuil, there are no true - equivalents to yes and no in Ithkuil. Nevertheless, + equivalents to âyesâ and ânoâ in Ithkuil. Nevertheless, there are abbreviated ways of answering the requests for information or commands for validation that substitute for questions in Ithkuil. The closest approximations are a few standardized sentences that answer commands using the validative mode. - These sentences translate in various ways, such as It functions/happens/manifests - in that manner or It does not function/happen/manifest in that - manner; or, I can(not) validate that information based on... [state - evidence for validation].</P> + These sentences translate in various ways, such as âIt functions/happens/manifests + in that mannerâ or âIt does not function/happen/manifest in that + mannerâ; or, âI can(not) validate that information based on... [state + evidence for validation].â</P> <P align="justify">Observe how this operates in the following examples.</P> -<P align="justify"><EM>Do you want to dance? No.<BR> - [State whether you will dance with me. I do not want to - dance with you.</EM></P> +<P align="justify"><EM>âDo you want to dance?â âNo.â<BR> + [âState whether you will dance with me.â âI do not want to + dance with you.â</EM></P> <P align="justify">Ithkuil grammar also allows for the use of bias affixes (see <A href="ithkuil-ch6-moreverbs.htm#Sec6o6">Sec. 6.6</A>) to function as autonomous words to convey attitudes and emotional responses similarly to @@ -1377,7 +1377,7 @@ cannot avoid the anthropomorphic morpheme -face). -V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>qt</STRONG></FONT>, and the two <A href="ithkuil-ch7b-affixes-contd.htm#PTFaffix">part-whole affixes</A> -V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/s-cedilla.gif" width="8" height="14" align="absbottom"></FONT> - and -V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT>.</P> + and -V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄ</STRONG></FONT>.</P> <P align="justify"></P> <P align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG><A href="ithkuil-ch11-script.html">Proceed to Chapter 11: The Script > ></A></STRONG></FONT></P> @@ -1436,7 +1436,7 @@ cannot avoid the anthropomorphic morpheme -face). <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> diff --git a/2004-en-alt/ithkuil-ch11-script.html b/2004-en-alt/ithkuil-ch11-script.html index ab45469..9ba1708 100755..100644 --- a/2004-en-alt/ithkuil-ch11-script.html +++ b/2004-en-alt/ithkuil-ch11-script.html @@ -71,7 +71,7 @@ <DIV align="center"> <TABLE width="39%" border="0" cellspacing="1" cellpadding="1"> <TBODY><TR> - <TD width="309"><FONT size="2"><A href="ithkuil-ch11-script.htm#Sec11o1">11.1 A Morpho-Phonemic + <TD width="309"><FONT size="2"><A href="ithkuil-ch11-script.htm#Sec11o1">11.1 A âMorpho-Phonemicâ Script </A></FONT></TD> </TR> <TR> @@ -93,7 +93,7 @@ extremely complex in its structure and usage, is strictly logical and highly efficient in its ability to convey information. In previous chapters we have seen the high degree of detail and multi-level functionality and dynamism inherent - in the languages morpho-phonology, morpho-syntax, and lexico-semantics. + in the languageâs morpho-phonology, morpho-syntax, and lexico-semantics. The workings of the Ithkuil writing system are no different. For example, just as the consonants and vowels of nominal and verbal stems can mutate into new forms, so, too, do the characters of the Ithkuil script mutate into other forms @@ -102,12 +102,12 @@ <DIV align="justify"> <TABLE width="100%" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> - <TD><P><FONT size="4"><STRONG>11.1 A MORPHO-PHONEMIC SCRIPT<A name="Sec11o1"></A></STRONG></FONT></P></TD> + <TD><P><FONT size="4"><STRONG>11.1 A âMORPHO-PHONEMICâ SCRIPT<A name="Sec11o1"></A></STRONG></FONT></P></TD> </TR> </TBODY></TABLE> </DIV> -<P align="justify">Such dynamism in a languages writing system can be achieved - because the Ithkuil script has the unique distinction of being morpho-phonemic, +<P align="justify">Such dynamism in a languageâs writing system can be achieved + because the Ithkuil script has the unique distinction of being âmorpho-phonemic,â i.e., the individual characters of the script do not merely convey phonemic content like an alphabet or syllabary, but also convey morphological (grammatical) information. Additionally, the phonemic and grammatical information conveyed @@ -193,7 +193,7 @@ <TD width="54"><DIV align="center"><IMG src="assets/11-1e.gif" width="16" height="46"></DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Consonantal character, Grade 1, primary form. Position immediately following a personal reference - adjunct infix implies C<FONT size="1">2</FONT> phonemic Value = /<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"></FONT></STRONG>/. + adjunct infix implies C<FONT size="1">2</FONT> phonemic Value = /<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle">â</FONT></STRONG>/. Consonantal character being in this position in a single-referent adjunct indicates character represents an affix rather than a case-marker.<BR> </FONT></TD> @@ -211,7 +211,7 @@ <TD width="22"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">5</FONT></STRONG></DIV></TD> <TD width="54"><DIV align="center"><IMG src="assets/11-1g.gif" width="49" height="39"></DIV></TD> - <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Vocalic character /<STRONG>â</STRONG>/, + <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Vocalic character /<STRONG>â</STRONG>/, Series A, primary but hook-reversed form. Position immediately following an aspectual adjunct infix character indicates start of new word. Position preceding two consonantal characters indicates word is a formative. Primary @@ -226,7 +226,7 @@ <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Consonantal character, Grade 1, primary form. Phonemic value: /<STRONG>q</STRONG>/. Position following vocalic character and preceding another consonantal character indicates - it is a C<FONT size="1">1</FONT> radical. Adjacent wedge diacritic, + it is a C<FONT size="1">1</FONT> radical. Adjacent âwedgeâ diacritic, in absence of similar diacritic on either the preceding vocalic character or the following consonantal character indicates <FONT size="1">STATIVE</FONT> conflation.</FONT></TD> @@ -248,7 +248,7 @@ <TD width="54"><DIV align="center"><IMG src="assets/11-1j.gif" width="32" height="44"></DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Consonantal character, Grade 5, primary form. Position following a C<FONT size="1">2</FONT> radical - indicates a consonantal affix. Phonemic value /<STRONG>q<FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG>/. + indicates a consonantal affix. Phonemic value /<STRONG>q<FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG>/. Grade 5 = affix-degree 5. Absence of diacritic indicates affix-type 1, non-geminated.</FONT></TD> </TR> <TR> @@ -264,7 +264,7 @@ <BLOCKQUOTE> <P align="justify"><IMG src="assets/11-1a.gif" width="347" height="23" align="middle"><BR> <IMG src="assets/11-1l.gif" width="387" height="28"> <BR> - <EM>I feel that nowadays everyone everywhere is happy.</EM> + <EM>âI feel that nowadays everyone everywhere is happy.â</EM> <BR> <FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-6-2.mp3"><FONT color="#FFFFFF">_</FONT>Listen!</A> <A href="Sound_Files/Ch-6-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT> @@ -272,11 +272,11 @@ </BLOCKQUOTE> <P align="justify">Notice how the above analysis shows that the only purely phonemic information given by the Ithkuil written characters in this sentence is for - <STRONG> <FONT face="Arial, Helvetica, sans-serif">/l/, /<IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle">/, - /â/, /q/, /<IMG src="assets/d-cedilla.gif" width="12" height="17" align="absmiddle">/, - /q/ </FONT></STRONG>and<STRONG><FONT face="Arial, Helvetica, sans-serif"> + <STRONG> <FONT face="Arial, Helvetica, sans-serif">/l/, /<IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle">â/, + /â/, /q/, /<IMG src="assets/d-cedilla.gif" width="12" height="17" align="absmiddle">/, + /qâ/ </FONT></STRONG>and<STRONG><FONT face="Arial, Helvetica, sans-serif"> /d/</FONT></STRONG>. All remaining information represented by the characters - is wholly morphological, by which the reader constructs the pronunciation + is wholly morphological, by which the reader âconstructsâ the pronunciation of the sentence as a whole. Such is a morpho-phonemic script.</P> <P align="justify">It is important to recognize that while the phonological component of the Ithkuil script gives information as to the phonemes associated with the @@ -294,19 +294,19 @@ <TABLE width="58%" border="0" cellpadding="0"> <TBODY><TR> <TD width="47%" height="95" valign="top"><P><STRONG><FONT face="Arial, Helvetica, sans-serif">Ta - yâqomüxduď.<BR> - Ta yâqomüxiäd. <BR> - Ta yâqomduďxü. <BR> - Ta yâqomiädüx</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>.</STRONG><BR> - <STRONG>Ta <FONT face="Arial, Helvetica, sans-serif">xüa</FONT></STRONG> - <STRONG><FONT face="Arial, Helvetica, sans-serif">yâqomiäd.</FONT></STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><BR> - <STRONG>Ta du<FONT face="Arial, Helvetica, sans-serif">ďa - </FONT></STRONG> <STRONG><FONT face="Arial, Helvetica, sans-serif">yâqomx<STRONG><FONT face="Arial, Helvetica, sans-serif">ü</FONT></STRONG>.<BR> + yâqomĂźxduÄ.<BR> + Ta yâqomĂźxiäd. <BR> + Ta yâqomduÄxĂź. <BR> + Ta yâqomiädĂźx</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>.</STRONG><BR> + <STRONG>Ta <FONT face="Arial, Helvetica, sans-serif">xĂźâa</FONT></STRONG> + <STRONG><FONT face="Arial, Helvetica, sans-serif">yâqomiäd.</FONT></STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><BR> + <STRONG>Ta du<FONT face="Arial, Helvetica, sans-serif">Äâa + </FONT></STRONG> <STRONG><FONT face="Arial, Helvetica, sans-serif">yâqomx<STRONG><FONT face="Arial, Helvetica, sans-serif">Ăź</FONT></STRONG>.<BR> </FONT></STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ta - <STRONG>du<FONT face="Arial, Helvetica, sans-serif">ď</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG></FONT></STRONG></FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif">üx - </FONT></STRONG>yâqom</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>.</STRONG></FONT><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">Ta <STRONG><FONT face="Arial, Helvetica, sans-serif">xü<STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG></FONT></STRONG>iä</FONT>d</STRONG> - yâqom.</FONT></STRONG><BR> + <STRONG>du<FONT face="Arial, Helvetica, sans-serif">Ä</FONT><FONT face="Arial, Helvetica, sans-serif">â<STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG></FONT></STRONG></FONT></STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif">Ăźx + </FONT></STRONG>yâqom</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>.</STRONG></FONT><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">Ta <STRONG><FONT face="Arial, Helvetica, sans-serif">xĂźâ<STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG></FONT></STRONG>iä</FONT>d</STRONG> + yâqom.</FONT></STRONG><BR> </FONT></P> </TD> <TD width="53%"><BLOCKQUOTE> @@ -322,14 +322,14 @@ The first symbol of the phrase above indicates the initial consonant element <STRONG>t</STRONG>- of the personal-reference adjunct <STRONG>tawa</STRONG> (or <STRONG>ta</STRONG>), while the second symbol conveys <FONT size="2">OBLIQUE</FONT> - case for the adjunct, interpretable as -<STRONG>a</STRONG> or <STRONG>awa</STRONG>. - The third symbol represents the vocalic prefix <STRONG>â</STRONG>-, as + case for the adjunct, interpretable as -<STRONG>a</STRONG> or â<STRONG>awa</STRONG>. + The third symbol represents the vocalic prefix <STRONG>â</STRONG>-, as well as the form, tone, mode, and vocalic mutation series of the stem. The fourth and fifth characters represents the <STRONG>C<FONT size="1">1</FONT></STRONG> and <STRONG>C<FONT size="1">2</FONT></STRONG> consonants of the root respectively, along with the mutational grade, stem number, vowel pattern, syllabic stress - and conflation information which transforms the initial <STRONG>â</STRONG>- - prefix to <STRONG>yâ</STRONG>-. The last two characters represent the + and conflation information which transforms the initial <STRONG>â</STRONG>- + prefix to <STRONG>yâ</STRONG>-. The last two characters represent the two affixes including their degree and affix-type.</P> <P align="justify">It should be noted what the written form of this word does not convey. It does not tell us what vowel is to be infixed between the <STRONG>C<FONT size="1">1</FONT></STRONG> @@ -350,12 +350,12 @@ from the grammar, need not be written, while those parts of a word which are not predictable can be represented by symbols which convey much more than a sound, but rather also convey the grammatical information necessary to construct - the unwritten parts of the word. As a result, the script acts to compress + the unwritten parts of the word. As a result, the script acts to âcompressâ the written form of the language as opposed to the spoken form, much like computerized - compression software stores computer files in a space-saving manner + âcompressionâ software stores computer files in a space-saving manner in which all components of a file whose construction is predictable based on other components, can be eliminated in the stored version, and restored when - accessed. Similarly, the compressed form of words in the Ithkuil + accessed. Similarly, the âcompressedâ form of words in the Ithkuil written language are restored to full pronunciation when spoken or read.</P> <P align="justify"> </P> @@ -393,9 +393,9 @@ </TBODY></TABLE> </DIV> <P align="justify">The physical form of the characters in the script is based - on two different types of written strokes: straight bar-like elements, - and pointed sickle-like hooks. These bars and hooks are joined - to one another in a variety of angular offset connections. While + on two different types of written strokes: straight âbarâ-like elements, + and pointed sickle-like âhooks.â These bars and hooks are joined + to one another in a variety of angular âoffsetâ connections. While there can be a number of different bar-like elements comprising a given character, only one arc or hook can occur in a character. These bars and hooks can be easily discerned in the sample of Ithkuil writing shown here.</P> @@ -433,14 +433,14 @@ <TBODY><TR> <TD width="25%"><DIV align="center"><IMG src="assets/11-3-2a.gif" width="95" height="273"></DIV></TD> <TD width="75%" valign="top"><DIV align="justify">For passages taking up more - than one line, as in general narrative passages or paragraphs, + than one line, as in general narrative passages or âparagraphs,â the script is normally written in a vertical <EM>boustrophedon</EM> fashion - (Greek for as the ox plows); specifically, it is written + (Greek for âas the ox plowsâ); specifically, it is written in vertical columns starting at the upper left of a page, with the first column being written top-to-bottom and each character oriented sideways and opening downward, then reversing direction in the second column and being written bottom-to-top with each character facing or opening upward. - Each line continues this zig-zag approach from the left + Each line continues this âzig-zagâ approach from the left side of the page to the right, every other line running one direction as opposed to the preceding and following lines. This is illustrated by analogy with Roman letters to the left and can be seen in the sample of @@ -521,62 +521,62 @@ 1</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>a</STRONG></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>e</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>ä</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>aî</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>eě</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>aě</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>ä</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>aĂŽ</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>eÄ</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG>aÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">stem 2</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>u</STRONG></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>o</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>ö</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>uî</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>Ăś</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>uĂŽ</STRONG></DIV></TD> <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>oi</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>uě</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>uÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#FFFF99"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">stem 3</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG>i</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG>ë</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG>ü</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>eî</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>oě</STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>ëě</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG>ĂŤ</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG>Ăź</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>eĂŽ</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>oÄ</STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG>ĂŤÄ</STRONG></DIV></TD> </TR> <TR> <TD rowspan="3"><DIV align="center"><STRONG><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">Form II</FONT></STRONG></DIV></TD> <TD bgcolor="#FFCCCC"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 1</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">â</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ę</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">â</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">Ä</FONT></STRONG></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ae</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">aű</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ač</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">aů</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">aĹą</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">aÄ</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><STRONG><FONT color="#009900">aĹŻ</FONT></STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 2 </FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ű</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ô</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ř</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">oű</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">oů</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ëů</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">Ĺą</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">Ă´</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">Ĺ</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">oĹą</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">oĹŻ</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT color="#009900">ĂŤĹŻ</FONT></STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#FFFF99"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 3 </FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">î</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">˙</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">ĂŽ</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">Ë</FONT></STRONG></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">iu</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">eű</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">eů</FONT></STRONG></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">iů</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">eĹą</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">eĹŻ</FONT></STRONG></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><STRONG><FONT color="#009900">iĹŻ</FONT></STRONG></DIV></TD> </TR> </TBODY></TABLE> <P align="justify">As shown in the above table and described in detail in <A href="ithkuil-ch2-morphophonology.html">Chapter @@ -615,7 +615,7 @@ the alternate pattern is shown by a mere point-like extension at the base of each character while the rest of the pattern remains identical. For all consonantal characters, the nine grades of mutation are differentiated by variations in - the top half of the character, while alternate versions of characters + the top âhalfâ of the character, while alternate versions of characters are shown in the bottom half of the character. For example, compare the standard and alternate forms of <IMG src="assets/k-cedilla.gif" width="10" height="17" align="absbottom"> above with those of the C<FONT size="1">1</FONT> radical <STRONG><FONT face="Arial, Helvetica, sans-serif">k<IMG src="assets/s-cedilla.gif" width="8" height="14" align="absbottom"></FONT></STRONG> @@ -629,7 +629,7 @@ constitute either the first or second symbol of a word. For those formatives where it is the second symbol, the first symbol will always be a vowel character. Vowel characters are distinguished from consonantal characters because the former - always contain a sickle-like hook element while consonant characters + always contain a sickle-like âhookâ element while consonant characters do not. Consequently, it is always possible to tell which is the C<FONT size="1">1</FONT> symbol of a formative.</P> <P align="justify"><STRONG>11.4.1.2 Representing C<FONT size="1">2</FONT> Consonantal @@ -674,7 +674,7 @@ Ithkuil represents these using C<FONT size="1">1</FONT> symbols as well. They simply have completely different phonological values than for their usage as C<FONT size="1">1</FONT> symbols. As an example, the C<FONT size="1">1</FONT> - symbol for <STRONG><FONT face="Arial, Helvetica, sans-serif">p</FONT></STRONG> + symbol for <STRONG><FONT face="Arial, Helvetica, sans-serif">ĹĄp</FONT></STRONG> becomes the symbol for <FONT face="Arial, Helvetica, sans-serif"><STRONG>r</STRONG></FONT> when representing a C<FONT size="1">2</FONT> radical. Again, it is mere position in the word that clues the reader into interpreting the symbol as a C<FONT size="1">2</FONT> @@ -724,7 +724,7 @@ an alternate form called the secondary used to indicate the secondary mode of the stem (i.e., corresponding to <FONT size="2">REPRESENTATIVE</FONT> essence as per <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Secs. 2.2.3</A> and <A href="ithkuil-ch3-morphology.htm#Sec3o8o1">3.8.1</A>). - Both primary and secondary forms in turn have hook-reversed forms, + Both primary and secondary forms in turn have âhook-reversedâ forms, i.e., forms identical to the primary and secondary forms, but with the sickle-like hook portion of the character curved in the opposite direction; these hook-reversed forms are used to indicate Form II of the formative, corresponding to the <FONT size="2">FORMAL</FONT> @@ -732,10 +732,10 @@ 2.2.3</A> and <A href="ithkuil-ch3-morphology.htm#Sec3o7">3.7</A>. The alternate and hook-reversed forms added to the 24 primary vowel characters, renders 96 characters. These 96 in turn have eight modifications to indicate - the nine mutational series of a stems vocalic infix (see <A href="ithkuil-ch2-morphophonology.htm#Sec2o5">Sec. + the nine mutational series of a stemâs vocalic infix (see <A href="ithkuil-ch2-morphophonology.htm#Sec2o5">Sec. 2.5</A>), resulting in 864 vowel characters. One of these 864 vowel symbols will always be the first character of an Ithkuil written formative. The following - table illustrates an example of the basic vowel character <STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG> + table illustrates an example of the basic vowel character <STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG> with its mutations, along with its alternate and hook-reversed forms. Note that, like consonantal characters, the top half of the character carries the distinctions between the nine degrees of mutation.</P> @@ -786,7 +786,7 @@ associated with these 60 symbols when written as a suffix is independent of their value when written as a C<FONT size="1">1</FONT> or C<FONT size="1">2</FONT> radical. As with C<FONT size="1">1</FONT> and C<FONT size="1">2</FONT> representations, - the readers clue to interpreting the symbol as an affix is by position + the readerâs clue to interpreting the symbol as an affix is by position within the word; the suffix will always be the third (or more) consonantal symbol in a word. Note that affixes which contain geminated (i.e., doubled) consonants (e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">mm</FONT></STRONG>, @@ -820,7 +820,7 @@ suffix</A> -<STRONG>V<FONT size="1">2</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom"></FONT>, used when the infixed form is not phonologically permissible. Generally, the Ithkuil script conveys only the suffixed form. An exception is made however, - for the <FONT size="2">DIRECTIVE</FONT> illocution, for which an optional shortcut + for the <FONT size="2">DIRECTIVE</FONT> illocution, for which an optional âshortcutâ notation exists, consisting of placing a special diacritic, a horizontal bar <IMG src="assets/11-4-1-10.gif" width="21" height="14" align="middle"> under the C<FONT size="1">1</FONT> character.</P> @@ -828,7 +828,7 @@ 11.4.2 Writing Adjuncts</H3> <P align="justify">The rules for writing aspectual adjuncts and personal reference adjuncts in Ithkuil script are distinct from writing formatives, employing a - different type of written symbol, specifically composite characters + different type of written symbol, specifically âcompositeâ characters made up of three separate character elements. Note that other adjuncts such as combination adjuncts and affixual adjuncts are not represented autonomously in the Ithkuil writing system, as these adjuncts exist purely for euphonic and @@ -950,8 +950,8 @@ is required, the nine mutations of each being used to show Configuration and; for <FONT size="2">FORMAL</FONT> designation, the hook-reversed forms of the four vowel characters are used; for <FONT size="2">INFORMAL</FONT> designation - plus <FONT size="2">POSITIVE</FONT> focus, the characters for <STRONG>â</STRONG>, - <STRONG>ę</STRONG>, <STRONG>ű</STRONG> and <STRONG>î</STRONG> + plus <FONT size="2">POSITIVE</FONT> focus, the characters for <STRONG>â</STRONG>, + <STRONG>Ä</STRONG>, <STRONG>Ĺą</STRONG> and <STRONG>ĂŽ</STRONG> are used, their hook-reversed forms indicating <FONT size="2">FORMAL</FONT> designation. For <FONT size="2">REPRESENTATIVE</FONT> essence, the above patterns are used but with the vowel character in its secondary form. </P> @@ -960,7 +960,7 @@ characters (in all nine degrees) interpreted as having their C<FONT size="1">1</FONT> phonological value for each degree (e.g., the <STRONG><IMG src="assets/8-1-2h.gif" width="20" height="16" align="absbottom"></STRONG> value -<FONT face="Arial, Helvetica, sans-serif"><STRONG>xt</STRONG></FONT>-, - equivalent to <FONT face="Arial, Helvetica, sans-serif"><STRONG>x+ç</STRONG></FONT>, + equivalent to <FONT face="Arial, Helvetica, sans-serif"><STRONG>x+ç</STRONG></FONT>, would be written using the 5th degree mutation of the C<FONT size="1">1</FONT> character for <STRONG><FONT face="Arial, Helvetica, sans-serif">kt</FONT></STRONG>, whose value is <STRONG><FONT face="Arial, Helvetica, sans-serif">xt</FONT></STRONG>).</P> @@ -985,8 +985,8 @@ character, as follows: <FONT face="Arial, Helvetica, sans-serif"><STRONG>C = a, C<IMG src="assets/11-4-2-1f.gif" width="7" height="7" align="absmiddle"> = u, C<IMG src="assets/11-4-1-7a.gif" width="8" height="5" align="absmiddle"> - = â, C<IMG src="assets/11-4-1-7b.gif" width="8" height="7" align="absmiddle"> - = ű</STRONG></FONT>.</P> + = â, C<IMG src="assets/11-4-1-7b.gif" width="8" height="7" align="absmiddle"> + = Ĺą</STRONG></FONT>.</P> <P align="justify"><STRONG><FONT face="Arial, Helvetica, sans-serif">C<FONT size="1">b</FONT></FONT></STRONG> is shown via the 60 C<FONT size="1">1</FONT>/C<FONT size="1">2</FONT> characters, interpreted as having their C<FONT size="1">1</FONT> phonological value</P> @@ -1076,7 +1076,7 @@ within words themselves various attitudes, moods, and other information which are normally indicated supra-segmentally in Western languages (e.g., by tone or inflection of the voice, hyper-enunciation, etc.), symbols such as exclamation - points and question marks are likewise unnecessary. The only punctuation + points and question marks are likewise unnecessary. The only âpunctuationâ symbols used are to show quotations of direct speech and phonetic transliteration (as when spelling non-Ithkuil words and names). These two sets of symbols are shown below. Note that the quotation marks are used only to indicate direct @@ -1103,7 +1103,7 @@ </TBODY></TABLE> <P align="justify">The following tables detail the characters of the Ithkuil script along with the various phonemic values assigned to the symbol depending on the - characters function within the word. The specific usages of the various + characterâs function within the word. The specific usages of the various sets of vowels, their secondary forms, their hook-reversed forms, and the primary versus secondary forms of consonant characters have been previously explained above in <A href="ithkuil-ch11-script.htm#Sec11o4o1">Section 11.4.1</A> and its various sub-sections.<BR> @@ -1254,7 +1254,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +</P><P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website.</FONT></P> <P> </P> <P></P> diff --git a/2004-en-alt/ithkuil-ch2-morpho-phonology.html b/2004-en-alt/ithkuil-ch2-morpho-phonology.html index aabc14d..cdc9601 100755..100644 --- a/2004-en-alt/ithkuil-ch2-morpho-phonology.html +++ b/2004-en-alt/ithkuil-ch2-morpho-phonology.html @@ -117,11 +117,11 @@ languages are Turkish, Japanese, Swahili, and Esperanto.</P> <P align="justify"><EM>Synthetic</EM> languages (also called fusional, flexional, or inflecting languages) manipulate word roots via internal phonetic manipulation - and/or via affixes which function in multiple functional roles (known as portmanteau + and/or via affixes which function in multiple functional roles (known as âportmanteauâ affixes). Examples are Latin, Russian, and Sanskrit.</P> <P align="justify"><EM>Polysynthetic</EM> (sometimes called incorporating) languages generally do not have pre-designated words, but rather join together semantic-formative - elements in sequential fashion, each resulting string constituting + elements in sequential fashion, each resulting âstringâ constituting a single word conveying an entire sentence of information. Examples are Inuit (Eskimo), Shawnee, and many other American Indian languages, as well as several Paleo-Siberian languages.</P> @@ -140,13 +140,13 @@ <P align="justify">For example, shown below is an analytical breakdown of the Ithkuil word <IMG src="assets/2-1a.gif" width="122" height="18" align="absbottom">(<FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-2-1.mp3">Listen:</A> </FONT><A href="Sound_Files/Ch-2-1.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A>). - The stem of this word, <FONT face="Arial, Helvetica, sans-serif"><STRONG>ciůk</STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"></FONT>, - meaning derived product of a ewe, has been completely transformed + The stem of this word, <FONT face="Arial, Helvetica, sans-serif"><STRONG>ciĹŻk</STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"></FONT>, + meaning âderived product of a ewe,â has been completely transformed into the nearly unrecognizable form <IMG src="assets/2-1c.gif" width="73" height="18" align="absbottom">, all due to the systematic mutation of its consonants and vowels. To this stem, are then added the prefix <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>eu</STRONG></FONT>-, an infix -<FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>w</STRONG></FONT>-, - and the affix -[V<FONT size="1">1</FONT>]<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">t</FONT></STRONG>, + and the affix -[V<FONT size="1">1</FONT>]<STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">t</FONT>â</STRONG>, where [V<FONT size="1">1</FONT>] represents a vowel increment to be determined by other morphological factors. As a result the simple root is transformed into a word containing no less than eleven morphemes (i.e., eleven semantically distinct @@ -167,12 +167,12 @@ </TR> <TR valign="top"> <TD width="15%" height="53"><FONT size="2" face="Arial, Helvetica, sans-serif">STEM:</FONT></TD> - <TD width="33%"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ciůk</STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"> + <TD width="33%"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ciĹŻk</STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"> <IMG src="assets/2-1f.gif" width="31" height="23" align="top"> < root: </FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>c </STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif">+</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> k</STRONG></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17"></FONT><FONT size="2" face="Arial, Helvetica, sans-serif"> - sheep<BR> - = derived product of ewe </FONT></TD> + âsheepâ<BR> + = âderived product of eweâ </FONT></TD> <TD width="52%"><FONT size="2"> </FONT></TD> </TR> <TR valign="top"> @@ -231,12 +231,12 @@ </TR> <TR valign="top"> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Affix:</FONT></TD> - <TD><FONT size="2" face="Arial, Helvetica, sans-serif">V<FONT size="1">1</FONT>t</FONT><FONT size="2"></FONT><FONT size="2" face="Arial, Helvetica, sans-serif">- + <TD><FONT size="2" face="Arial, Helvetica, sans-serif">V<FONT size="1">1</FONT>t</FONT><FONT size="2">â</FONT><FONT size="2" face="Arial, Helvetica, sans-serif">- (8th degree) = specific derivation of stem (in this case: "ewe's wool")</FONT></TD> <TD><FONT size="2"> </FONT></TD> </TR> </TBODY></TABLE> -<PRE><FONT face="Arial, Helvetica, sans-serif"><FONT size="2"><STRONG>APPROXIMATE TRANSLATION:</STRONG></FONT> <EM>concerning a hypothetical diminishing in everything having to do with ewe-wool clothing</EM> +<PRE><FONT face="Arial, Helvetica, sans-serif"><FONT size="2"><STRONG>APPROXIMATE TRANSLATION:</STRONG></FONT> <EM>âconcerning a hypothetical diminishing in everything having to do with ewe-wool clothingâ</EM> </FONT></PRE> <P align="justify"> </P> <TABLE width="98%" border="0" cellpadding="0"> @@ -269,7 +269,7 @@ <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">p + x </FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">tr - + c</FONT></STRONG></DIV></TD> + + câ</FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ks + <IMG src="assets/q-aspirated.gif" width="19" height="18" align="absbottom"></FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">xl @@ -284,7 +284,7 @@ </STRONG> radical interfix. For example, a vowel such as <FONT face="Arial, Helvetica, sans-serif"><STRONG>a</STRONG></FONT> would be infixed into the radical interfix <STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">+<STRONG>r</STRONG></FONT> to give the stem <FONT face="Arial, Helvetica, sans-serif"><STRONG>tar</STRONG></FONT>, - an Ithkuil word for name. The manner in which such vowels are + an Ithkuil word for âname.â The manner in which such vowels are infixed into radical interfixes to form stems is entirely systematic but quite complex. It is described in the next several sections.</P> <H3 align="justify"><BR> @@ -337,62 +337,62 @@ 1</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">a</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">e</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">ä</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">aî</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">eě</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">aě</FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">ä</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">aĂŽ</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">eÄ</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4">aÄ</FONT></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">stem 2</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">u</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">o</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">ö</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">uî</FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">Ăś</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">uĂŽ</FONT></DIV></TD> <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">oi</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">uě</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4">uÄ</FONT></DIV></TD> </TR> <TR> <TD bgcolor="#FFFF99"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">stem 3</FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">i</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">ë</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">ü</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">eî</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">oě</FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">ëě</FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">ĂŤ</FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">Ăź</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">eĂŽ</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">oÄ</FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4">ĂŤÄ</FONT></DIV></TD> </TR> <TR> <TD rowspan="3"><DIV align="center"><STRONG><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">Form II</FONT></STRONG></DIV></TD> <TD bgcolor="#FFCCCC"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 1</FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">â</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ę</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">â</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">Ä</FONT></FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ae</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">aű</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ač</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">aů</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">aĹą</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">aÄ</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">aĹŻ</FONT></FONT></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 2 </FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ű</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ô</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ř</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">oű</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">oů</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ëů</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">Ĺą</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">Ă´</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">Ĺ</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">oĹą</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">oĹŻ</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><FONT color="#009900">ĂŤĹŻ</FONT></FONT></DIV></TD> </TR> <TR> <TD bgcolor="#FFFF99"> <DIV align="center"><FONT color="#009900" size="2" face="Arial, Helvetica, sans-serif">stem 3 </FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">î</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">˙</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">ĂŽ</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">Ë</FONT></FONT></DIV></TD> <TD valign="middle" bordercolor="#0000FF" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">iu</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">eű</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">eů</FONT></FONT></DIV></TD> - <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">iů</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">eĹą</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">eĹŻ</FONT></FONT></DIV></TD> + <TD valign="middle" bordercolor="#FF0000" bgcolor="#FFFF99"> <DIV align="center"><FONT size="4"><FONT color="#009900">iĹŻ</FONT></FONT></DIV></TD> </TR> </TBODY></TABLE> <P align="justify"> The three patterns are labelled Pattern 1, Pattern 2, and @@ -414,11 +414,11 @@ <P align="justify">Lastly, there are two modes, labelled Primary and Secondary. Mode is used to signify a rather complex morphological category called Essence, detailed in <A href="ithkuil-ch3-morphology.htm#Sec3o8">Section - 3.8</A>. It differentiates alternate versions of entities within + 3.8</A>. It differentiates âalternateâ versions of entities within hypothetical, imagined, or representational contexts, which would otherwise - be contradictory or nonsensical. An example would be the word boy + be contradictory or nonsensical. An example would be the word âboyâ in the sentence <EM>The brown-eyed boy had blue eyes</EM> (e.g., in the newspaper - account). A stems Essence category does not change its underlying meaning.</P> + account). A stemâs Essence category does not change its underlying meaning.</P> <P align="justify"> </P> <TABLE width="98%" border="0" cellpadding="0"> <TBODY><TR> @@ -429,7 +429,7 @@ </TBODY></TABLE> <P align="justify">We can now examine how each root instantiates meaning into the above array of stems. First of all, because Mode distinguishes a morphological - category (Essence) that does not change a stems underlying meaning, it + category (Essence) that does not change a stemâs underlying meaning, it will be ignored in the analysis below. We will start with the six stems (three for each Form) associated with Pattern 1; these are the holistic stems. This will be followed in a subsequent section by an analysis of the twelve stems @@ -442,12 +442,12 @@ generates the following stems:</P> <BLOCKQUOTE> <P> 1. <FONT face="Arial, Helvetica, sans-serif"><STRONG>tar</STRONG></FONT> - <EM>name of something or someone; to name something or someone</EM><BR> - 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">tur</FONT></STRONG> <EM>designation - or reference; to assign a designation, to refer to something</EM><BR> - 3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>tir</STRONG></FONT> <EM>a - (temporary or informal) reference, nickname; to give a (temporary - or informal) reference or name to, to (temporarily) nickname</EM></P> + <EM>âname of something or someone; to name something or someoneâ</EM><BR> + 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">tur</FONT></STRONG> <EM>âdesignation + or reference; to assign a designation, to refer to somethingâ</EM><BR> + 3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>tir</STRONG></FONT> <EM>âa + (temporary or informal) reference, ânicknameâ; to give a (temporary + or informal) reference or name to, to (temporarily) nicknameâ</EM></P> </BLOCKQUOTE> <P align="justify">The semantic relationship between each stem and the underlying root is specific to each root. Nevertheless, certain patterns are common. Stem @@ -458,14 +458,14 @@ Stem 1, or a tangential or related concept. For example, compare the relationship between the individual stems for the root <STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">+<STRONG>r</STRONG></FONT> above with that of the Form I root <FONT face="Arial, Helvetica, sans-serif"><STRONG>x</STRONG></FONT>+<FONT face="Arial, Helvetica, sans-serif"><STRONG>n</STRONG></FONT> - (<FONT size="2">VISION/SIGHT</FONT>) below.</P> + (<FONT size="2">âVISION/SIGHTâ</FONT>) below.</P> <BLOCKQUOTE> <P> 1. <FONT face="Arial, Helvetica, sans-serif"><STRONG>xan</STRONG></FONT> - <EM>a sighting, an act of seeing something; to see something</EM><BR> - 2. <FONT face="Arial, Helvetica, sans-serif"><STRONG>xun</STRONG></FONT> <EM>an - eye; to be an eye/become an eye/use ones eye, etc.</EM><BR> - 3. <STRONG><FONT face="Arial, Helvetica, sans-serif">xin</FONT></STRONG> <EM>an - image in ones mind; to visualize, to picture in ones mind</EM></P> + <EM>âa sighting, an act of seeing something; to see somethingâ</EM><BR> + 2. <FONT face="Arial, Helvetica, sans-serif"><STRONG>xun</STRONG></FONT> <EM>âan + eye; to be an eye/become an eye/use oneâs eye, etc.â</EM><BR> + 3. <STRONG><FONT face="Arial, Helvetica, sans-serif">xin</FONT></STRONG> <EM>âan + image in oneâs mind; to visualize, to picture in oneâs mindâ</EM></P> </BLOCKQUOTE> <P align="justify">Note that each stem carries both a nominal (noun) and a verbal meaning. This will be important later when we discuss parts of speech and nominal/verbal @@ -479,22 +479,22 @@ morphological shift in Designation earlier described. While Form I implies a temporary, contextual interpretation, Form II implies a permanent, authoritative interpretation beyond the mere context of a specific utterance. Note that the - vowel infixes associated with the three stems of Form II are <STRONG>â</STRONG>, - <STRONG>ű</STRONG>, and <STRONG>î</STRONG>, as shown above in <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Table + vowel infixes associated with the three stems of Form II are <STRONG>â</STRONG>, + <STRONG>Ĺą</STRONG>, and <STRONG>ĂŽ</STRONG>, as shown above in <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Table 5</A>.</P> <BLOCKQUOTE> - <P> 1. <STRONG><FONT face="Arial, Helvetica, sans-serif">târ</FONT></STRONG> - title; to (be) title(d)<BR> - 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">tűr</FONT></STRONG> - formal designation, label; to label<BR> - 3. <STRONG><FONT face="Arial, Helvetica, sans-serif">tîr</FONT></STRONG> - formal role; to function in a formal role </P> - <P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">xân</FONT></STRONG> - visual observation; to visually observe<BR> - 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">xűn</FONT></STRONG> - optical device; to use an optical device<BR> - 3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>xîn</STRONG></FONT> - a rendered image; to render an image</P> + <P> 1. <STRONG><FONT face="Arial, Helvetica, sans-serif">târ</FONT></STRONG> + âtitle; to (be) title(d)â<BR> + 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">tĹąr</FONT></STRONG> + âformal designation, label; to labelâ<BR> + 3. <STRONG><FONT face="Arial, Helvetica, sans-serif">tĂŽr</FONT></STRONG> + âformal role; to function in a formal roleâ </P> + <P>1. <STRONG><FONT face="Arial, Helvetica, sans-serif">xân</FONT></STRONG> + âvisual observation; to visually observeâ<BR> + 2. <STRONG><FONT face="Arial, Helvetica, sans-serif">xĹąn</FONT></STRONG> + âoptical device; to use an optical deviceâ<BR> + 3. <FONT face="Arial, Helvetica, sans-serif"><STRONG>xĂŽn</STRONG></FONT> + âa rendered image; to render an imageâ</P> </BLOCKQUOTE> <H3 align="justify"><BR> 2.3.2 Complementary Stems</H3> @@ -503,7 +503,7 @@ component parts of the main stem. Many Ithkuil stems which translate common English nouns and verbs are, in fact, such complementary derivatives, rather than being holistic word-stems. </P> -<P align="justify">By complementary is meant that the manifestation +<P align="justify">By âcomplementaryâ is meant that the manifestation of a concept appears in any given context as either one sort of entity or another, but never both simultaneously; yet, neither manifestation can be considered to be a discrete contextual whole without the existence of the other. In Ithkuil, @@ -537,7 +537,7 @@ tel</STRONG></FONT>, while the second complementary stem is derived by mutation from Pattern 1 into Pattern 3, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">tal <STRONG><IMG src="assets/arrow.gif" width="17" height="9"></STRONG> - täl</FONT></STRONG>. Several examples of complementary stem derivation + täl</FONT></STRONG>. Several examples of complementary stem derivation are given below:</P> <P align="justify"> Form I examples:</P> <TABLE width="97%" border="0" cellpadding="0"> @@ -558,7 +558,7 @@ <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd Comp. Stem </FONT></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qöm</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qĂśm</FONT></STRONG>: female person</TD> </TR> </TBODY></TABLE></TD> @@ -579,7 +579,7 @@ <TR> <TD height="21" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd Comp. Stem</FONT></TD> - <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kläd</STRONG></FONT>: + <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kläd</STRONG></FONT>: the channel or course of a flow of water</TD> </TR> </TBODY></TABLE></TD> @@ -598,13 +598,13 @@ <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> - <TD><FONT face="Arial, Helvetica, sans-serif"><STRONG>tël</STRONG></FONT>: + <TD><FONT face="Arial, Helvetica, sans-serif"><STRONG>tĂŤl</STRONG></FONT>: the physical act of composing in writing; to physically write a composition</TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd Comp. Stem </FONT></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>tül</STRONG></FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>tĂźl</STRONG></FONT></STRONG>: the written content or message of a composition; to create written content</TD> </TR> @@ -622,13 +622,13 @@ <TD height="25" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> <TD> <STRONG><FONT face="Arial, Helvetica, sans-serif">xen</FONT></STRONG>: - an act of seeing, a usage of ones faculty of sight; to see - with ones eyes, to undergo a sighting</TD> + an act of seeing, a usage of oneâs faculty of sight; to see + with oneâs eyes, to undergo a sighting</TD> </TR> <TR> <TD height="21" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd Comp. Stem</FONT></TD> - <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>xän</STRONG></FONT>: + <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>xän</STRONG></FONT>: a view, a sight, something (to be) seen; to cast a sight or image</TD> </TR> </TBODY></TABLE></TD> @@ -642,19 +642,19 @@ <TBODY><TR> <TD width="38%" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Holistic Stem</FONT></TD> - <TD width="62%"><STRONG><FONT face="Arial, Helvetica, sans-serif">qűm</FONT></STRONG>: + <TD width="62%"><STRONG><FONT face="Arial, Helvetica, sans-serif">qĹąm</FONT></STRONG>: an official </TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qôm</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qĂ´m</FONT></STRONG>: male official </TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd Comp. Stem </FONT></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qřm</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">qĹm</FONT></STRONG>: female official </TD> </TR> </TBODY></TABLE></TD> @@ -663,13 +663,13 @@ <TBODY><TR> <TD width="28%" height="23" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Holistic Stem</FONT></TD> - <TD width="72%"><STRONG><FONT face="Arial, Helvetica, sans-serif">klâd</FONT></STRONG>: + <TD width="72%"><STRONG><FONT face="Arial, Helvetica, sans-serif">klâd</FONT></STRONG>: a river </TD> </TR> <TR> <TD height="25" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> - <TD> <STRONG><FONT face="Arial, Helvetica, sans-serif">klęd</FONT></STRONG>: + <TD> <STRONG><FONT face="Arial, Helvetica, sans-serif">klÄd</FONT></STRONG>: the water in a river </TD> </TR> <TR> @@ -688,13 +688,13 @@ <TBODY><TR> <TD width="31%" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Holistic Stem</FONT></TD> - <TD width="69%"><STRONG><FONT face="Arial, Helvetica, sans-serif">tîl</FONT></STRONG>: + <TD width="69%"><STRONG><FONT face="Arial, Helvetica, sans-serif">tĂŽl</FONT></STRONG>: an act of creating a formal writing; to compose a formal written work</TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">t˙l</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">tËl</FONT></STRONG>: physical act of composing a formal written work; to physically write a work</TD> </TR> @@ -711,14 +711,14 @@ <TBODY><TR> <TD width="28%" height="23" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Holistic Stem</FONT></TD> - <TD width="72%"><STRONG><FONT face="Arial, Helvetica, sans-serif">kâl</FONT></STRONG>: + <TD width="72%"><STRONG><FONT face="Arial, Helvetica, sans-serif">kâl</FONT></STRONG>: an act of speech; to speak (i.e., the physical vocal production + the communicative element)</TD> </TR> <TR> <TD height="25" bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">1st Comp. Stem</FONT></TD> - <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kęl</STRONG></FONT>: + <TD> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kÄl</STRONG></FONT>: an act of talking (i.e., vocal production of words); to talk (i.e., vocally emit words)</TD> </TR> @@ -734,14 +734,14 @@ <P align="justify"><BR> <STRONG>2.3.2.2 Complementary Stems in Translation</STRONG>. As illustrated above, the structure of Ithkuil holistic vs. secondary complementary roots often - neatly parallels English lexical distinctions, e.g., speak/speech - breaking down into the physical aspect of talking versus the communicative - aspect of saying/telling or person breaking down - into male and female. However, it is often the case + neatly parallels English lexical distinctions, e.g., âspeak/speechâ + breaking down into the physical aspect of âtalkingâ versus the communicative + aspect of âsaying/tellingâ or âpersonâ breaking down + into âmaleâ and âfemale.â However, it is often the case that this principle of complementarity creates a semantic situation which is counterintuitive to Western semantic notions. </P> <P align="justify">For example, let us analyze the root <STRONG><FONT face="Arial, Helvetica, sans-serif">h</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">+<STRONG>n</STRONG></FONT> - <FONT size="2">NUCLEAR FAMILY MEMBER</FONT>. While most languages + â<FONT size="2">NUCLEAR FAMILY MEMBER</FONT>â. While most languages would consider the concept <EM>parent</EM> as fundamentally opposite from the concept <EM>child</EM> and assign separate word-roots to each, Ithkuil recognizes that one implies the other. No person can be a parent unless they've had a child, @@ -749,13 +749,13 @@ archetypal complementary relationship, the whole two-sided nature of which is referred to by the holistic stem <STRONG><FONT face="Arial, Helvetica, sans-serif">han</FONT></STRONG>. One way to interpret the meaning, then, of <STRONG><FONT face="Arial, Helvetica, sans-serif">han</FONT></STRONG> - is to say that the word means both parent and child, + is to say that the word means both âparentâ and âchild,â which of course strikes a Westerner as being problematical, perhaps even non-sensical. - But in fact, the word does not mean either parent or child, + But in fact, the word does not mean either âparentâ orâ child,â but rather a person who is one of the members of a parent-child relationship, i.e., a member of a nuclear family. With such a root, Stem 2 and Stem 3 in turn subdivide Stem 1 into the further complementary derivatives of male and female. - Such bi-level derivations of complementary concepts using Stem + Such âbi-levelâ derivations of complementary concepts using Stem 2 and Stem 3 are common in Ithkuil root/stem derivation. Here then are the actual meanings of the stems for <STRONG><FONT face="Arial, Helvetica, sans-serif">h</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">+<STRONG>n</STRONG></FONT> in Form I.</P> @@ -775,7 +775,7 @@ nuclear family member </TD> <TD width="34%"><STRONG><FONT face="Arial, Helvetica, sans-serif">hen</FONT></STRONG>: parent</TD> - <TD width="34%"><STRONG><FONT face="Arial, Helvetica, sans-serif">h<STRONG>ä</STRONG>n</FONT></STRONG>: + <TD width="34%"><STRONG><FONT face="Arial, Helvetica, sans-serif">h<STRONG>ä</STRONG>n</FONT></STRONG>: child</TD> </TR> <TR> @@ -784,16 +784,16 @@ male nuclear family member </TD> <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hon</FONT></STRONG>: father </TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hön</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hĂśn</FONT></STRONG>: son</TD> </TR> <TR> <TD height="21" bgcolor="#CCCCCC">Stem 3</TD> <TD><FONT face="Arial, Helvetica, sans-serif"><STRONG>hin</STRONG></FONT>: female nuclear family member </TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hën</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hĂŤn</FONT></STRONG>: mother </TD> - <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hün</FONT></STRONG>: + <TD><STRONG><FONT face="Arial, Helvetica, sans-serif">hĂźn</FONT></STRONG>: daughter</TD> </TR> </TBODY></TABLE> @@ -874,12 +874,12 @@ <STRONG>k</STRONG></FONT> and <STRONG><FONT face="Arial, Helvetica, sans-serif">pl</FONT></STRONG>:</P> <BLOCKQUOTE> <P> <STRONG><FONT face="Arial, Helvetica, sans-serif">k <IMG src="assets/arrow.gif" width="17" height="9"> - g <IMG src="assets/arrow.gif" width="17" height="9"> k + g <IMG src="assets/arrow.gif" width="17" height="9"> kâ <IMG src="assets/arrow.gif" width="17" height="9"> kf <IMG src="assets/arrow.gif" width="17" height="9"> km <IMG src="assets/arrow.gif" width="17" height="9"> - çk/<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">k - <IMG src="assets/arrow.gif" width="17" height="9"> çk/<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">k</FONT></STRONG></P> + çk/<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">k + <IMG src="assets/arrow.gif" width="17" height="9"> çkâ/<IMG src="assets/t-cedilla.gif" width="7" height="16" align="absbottom">kâ</FONT></STRONG></P> <P><STRONG><FONT face="Arial, Helvetica, sans-serif"> pl <IMG src="assets/arrow.gif" width="17" height="9"> bl <IMG src="assets/arrow.gif" width="17" height="9"> pr <IMG src="assets/arrow.gif" width="17" height="9"> @@ -916,7 +916,7 @@ tt <IMG src="assets/arrow.gif" width="17" height="9"> rt <IMG src="assets/arrow.gif" width="17" height="9"> lt <IMG src="assets/s-cedilla.gif" width="8" height="14" align="absbottom">t - <IMG src="assets/arrow.gif" width="17" height="9"> t + <IMG src="assets/arrow.gif" width="17" height="9"> ĹĄt <IMG src="assets/arrow.gif" width="17" height="9"> sst</FONT></STRONG></P> </BLOCKQUOTE> @@ -954,7 +954,7 @@ radicals, each of these specific stem-infixes can in turn mutate into eight variations for a total of nine mutations, termed Series A, Series B, Series C, etc. (Note that the ninth series is termed Series J rather than Series I, - in order not to confuse the use of I as a letter versus a Roman + in order not to confuse the use of âIâ as a letter versus a Roman numeral). Consequently each root has a total of 324 different vocalic infixes depending on the Stem, Mode, Form, Pattern, and Series. These series of vowel mutations are shown in Tables 8(a) through 8(f) below, with each table indicating @@ -998,27 +998,27 @@ <TD><DIV align="center"><FONT size="4">ai<BR> ui<BR> ei</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">a(ď)<BR> - u(ď)<BR> - i(ď)</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awď<BR> - uwď<BR> - iwď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awa<BR> - uwa<BR> - iwa </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awe<BR> - uwe<BR> - iwe</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awi<BR> - uwi<BR> - iwi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awë<BR> - uwë<BR> - iwë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">awo<BR> - uwo<BR> - iwo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâ(Ä)<BR> + uâ(Ä)<BR> + iâ(Ä)</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwÄ<BR> + uâwÄ<BR> + iâwÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwa<BR> + uâwa<BR> + iâwa </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwe<BR> + uâwe<BR> + iâwe</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwi<BR> + uâwi<BR> + iâwi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwĂŤ<BR> + uâwĂŤ<BR> + iâwĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâwo<BR> + uâwo<BR> + iâwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1026,33 +1026,33 @@ <TD><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">â<BR> - ű<BR> - î</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">â<BR> + Ĺą<BR> + ĂŽ</FONT></DIV></TD> <TD><DIV align="center"><FONT size="4">au<BR> ou<BR> eu </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">â(ď)<BR> - ű(ď)<BR> - î (ď) </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ayď<BR> - uyď<BR> - iyď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aya<BR> - uya<BR> - iya</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aye<BR> - uye<BR> - iye </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ayu<BR> - uyu<BR> - iyu </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ayë<BR> - uyë<BR> - iyë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ayo<BR> - uyo<BR> - iyo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââ(Ä)<BR> + Ĺąâ(Ä)<BR> + ĂŽ â(Ä) </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâyÄ<BR> + uâyÄ<BR> + iâyÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâya<BR> + uâya<BR> + iâya</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâye<BR> + uâye<BR> + iâye </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâyu<BR> + uâyu<BR> + iâyu </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâyĂŤ<BR> + uâyĂŤ<BR> + iâyĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâyo<BR> + uâyo<BR> + iâyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P><BR> @@ -1088,31 +1088,31 @@ stem 3</STRONG></DIV></TD> <TD><DIV align="center"><FONT size="4">e<BR> o<BR> - ë</FONT></DIV></TD> + ĂŤ</FONT></DIV></TD> <TD><DIV align="center"><FONT size="4">ia<BR> io<BR> ie</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">e(ď)<BR> - o(ď)<BR> - ë(ď)</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewď<BR> - owď<BR> - ëwď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewa<BR> - owa<BR> - ëwa</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewe<BR> - owe<BR> - ëwe </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewi<BR> - owi<BR> - ëwi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewë<BR> - owë<BR> - ëwë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ewo<BR> - owo<BR> - ëwo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâ(Ä)<BR> + oâ(Ä)<BR> + ĂŤâ(Ä)</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwÄ<BR> + oâwÄ<BR> + ĂŤâwÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwa<BR> + oâwa<BR> + ĂŤâwa</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwe<BR> + oâwe<BR> + ĂŤâwe </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwi<BR> + oâwi<BR> + ĂŤâwi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwĂŤ<BR> + oâwĂŤ<BR> + ĂŤâwĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâwo<BR> + oâwo<BR> + ĂŤâwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1120,33 +1120,33 @@ <TD><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">ę<BR> - ô<BR> - ˙ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ä<BR> + Ă´<BR> + Ë </FONT></DIV></TD> <TD><DIV align="center"><FONT size="4">ua<BR> uo<BR> ue</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ę(ď)<BR> - ô(ď)<BR> - ˙(ď)</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eyď<BR> - oyď<BR> - ëyď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eya<BR> - oya<BR> - ëya</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eye<BR> - oye<BR> - ëye</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eyu<BR> - oyu<BR> - ëyu</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eyë<BR> - oyë<BR> - ëyë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">eyo<BR> - oyo<BR> - ëyo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Äâ(Ä)<BR> + Ă´â(Ä)<BR> + Ëâ(Ä)</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâyÄ<BR> + oâyÄ<BR> + ĂŤâyÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâya<BR> + oâya<BR> + ĂŤâya</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâye<BR> + oâye<BR> + ĂŤâye</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâyu<BR> + oâyu<BR> + ĂŤâyu</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâyĂŤ<BR> + oâyĂŤ<BR> + ĂŤâyĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâyo<BR> + oâyo<BR> + ĂŤâyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P> <BR> @@ -1180,33 +1180,33 @@ <TD width="9%"><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">ä<BR> - ö<BR> - ü</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ä<BR> + Ăś<BR> + Ăź</FONT></DIV></TD> <TD><DIV align="center"><FONT size="4">ea<BR> - ië<BR> - ëi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ä(ď)<BR> - ö(ď)<BR> - ü(ď)</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwď<BR> - öwď<BR> - üwď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwa<BR> - öwa<BR> - üwa</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwe<BR> - öwe<BR> - üwe </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwi<BR> - öwi<BR> - üwi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwë<BR> - öwë<BR> - üwë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äwo<BR> - öwo<BR> - üwo</FONT></DIV></TD> + iĂŤ<BR> + ĂŤi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâ(Ä)<BR> + Ăśâ(Ä)<BR> + Ăźâ(Ä)</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwÄ<BR> + ĂśâwÄ<BR> + ĂźâwÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwa<BR> + Ăśâwa<BR> + Ăźâwa</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwe<BR> + Ăśâwe<BR> + Ăźâwe </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwi<BR> + Ăśâwi<BR> + Ăźâwi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwĂŤ<BR> + ĂśâwĂŤ<BR> + ĂźâwĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâwo<BR> + Ăśâwo<BR> + Ăźâwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1215,32 +1215,32 @@ stem 2<BR> stem 3</STRONG></DIV></TD> <TD><DIV align="center"><FONT size="4">ae <BR> - ř<BR> + Ĺ<BR> iu</FONT></DIV></TD> <TD><DIV align="center"><FONT size="4">oa<BR> - ëu<BR> - uë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ae(ď)<BR> - ř(ď)<BR> - iu(ď)</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äyď<BR> - öyď<BR> - üyď </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äya<BR> - öya<BR> - üya</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äye<BR> - öye<BR> - üye </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äyu<BR> - öyu<BR> - üyu </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äyë<BR> - öyë<BR> - üyë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">äyo<BR> - öyo<BR> - üyo</FONT></DIV></TD> + ĂŤu<BR> + uĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aeâ(Ä)<BR> + Ĺâ(Ä)<BR> + iuâ(Ä)</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâyÄ<BR> + ĂśâyÄ<BR> + ĂźâyÄ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâya<BR> + Ăśâya<BR> + Ăźâya</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâye<BR> + Ăśâye<BR> + Ăźâye </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâyu<BR> + Ăśâyu<BR> + Ăźâyu </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâyĂŤ<BR> + ĂśâyĂŤ<BR> + ĂźâyĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">äâyo<BR> + Ăśâyo<BR> + Ăźâyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P> <BR> @@ -1275,33 +1275,33 @@ <TD width="9%"><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">aî <BR> - uî<BR> - eî</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ai <BR> - ui<BR> - ei </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âě<BR> - űě<BR> - ęě </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwď<BR> - uiwď<BR> - eiwď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwa<BR> - uiwa<BR> - eiwa</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwe<BR> - uiwe<BR> - eiwe</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwi<BR> - uiwi<BR> - eiwi</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwë<BR> - uiwë<BR> - eiwë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aiwo<BR> - uiwo<BR> - eiwo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aĂŽ <BR> + uĂŽ<BR> + eĂŽ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâi <BR> + uâi<BR> + eâi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">âÄ<BR> + ĹąÄ<BR> + ÄÄ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwÄ<BR> + uiâwÄ<BR> + eiâwÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwa<BR> + uiâwa<BR> + eiâwa</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwe<BR> + uiâwe<BR> + eiâwe</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwi<BR> + uiâwi<BR> + eiâwi</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwĂŤ<BR> + uiâwĂŤ<BR> + eiâwĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aiâwo<BR> + uiâwo<BR> + eiâwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1309,33 +1309,33 @@ <TD><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">aű<BR> - oű<BR> - eű</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">au<BR> - ou<BR> - eu</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âů<BR> - oî<BR> - ęů</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auyď<BR> - ouyď<BR> - euyď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auya<BR> - ouya<BR> - euya</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auye<BR> - ouye<BR> - euye</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auyu<BR> - ouyu<BR> - euyu</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auyë<BR> - ouyë<BR> - euyë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">auyo<BR> - ouyo<BR> - euyo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aĹą<BR> + oĹą<BR> + eĹą</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aâu<BR> + oâu<BR> + eâu</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">âů<BR> + oĂŽ<BR> + ÄĹŻ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâyÄ<BR> + ouâyÄ<BR> + euâyÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâya<BR> + ouâya<BR> + euâya</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâye<BR> + ouâye<BR> + euâye</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâyu<BR> + ouâyu<BR> + euâyu</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâyĂŤ<BR> + ouâyĂŤ<BR> + euâyĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">auâyo<BR> + ouâyo<BR> + euâyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P> <BR> @@ -1370,33 +1370,33 @@ <TD width="9%"><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">eě<BR> + <TD><DIV align="center"><FONT size="4">eÄ<BR> oi<BR> - oě</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ia<BR> - ie<BR> - io</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">îa<BR> - îo<BR> - îe</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwď<BR> - ęwď<BR> - ôwď</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwa<BR> - ęwa<BR> - ôwa</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwe<BR> - ęwe<BR> - ôwe</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwi<BR> - ęwi<BR> - ôwi</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwë<BR> - ęwë<BR> - ôwë </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âwo<BR> - ęwo<BR> - ôwo</FONT></DIV></TD> + oÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">iâa<BR> + iâe<BR> + iâo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ĂŽa<BR> + ĂŽo<BR> + ĂŽe</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwÄ<BR> + ÄâwÄ<BR> + Ă´âwÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwa<BR> + Äâwa<BR> + Ă´âwa</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwe<BR> + Äâwe<BR> + Ă´âwe</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwi<BR> + Äâwi<BR> + Ă´âwi</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwĂŤ<BR> + ÄâwĂŤ<BR> + Ă´âwĂŤ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââwo<BR> + Äâwo<BR> + Ă´âwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1404,33 +1404,33 @@ <TD><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">ač<BR> - oů<BR> - eů </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ua<BR> - ue<BR> - uo</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űa<BR> - űo<BR> - űe</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âyď<BR> - ęyď<BR> - ôyď </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âya<BR> - ęya<BR> - ôya </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âye<BR> - ęye<BR> - ôye</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âyu<BR> - ęyu<BR> - ôyu </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âyë<BR> - ęyë<BR> - ôyë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">âyo<BR> - ęyo<BR> - ôyo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aÄ<BR> + oĹŻ<BR> + eĹŻ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">uâa<BR> + uâe<BR> + uâo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąa<BR> + Ĺąo<BR> + Ĺąe</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââyÄ<BR> + ÄâyÄ<BR> + Ă´âyÄ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââya<BR> + Äâya<BR> + Ă´âya </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââye<BR> + Äâye<BR> + Ă´âye</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââyu<BR> + Äâyu<BR> + Ă´âyu </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââyĂŤ<BR> + ÄâyĂŤ<BR> + Ă´âyĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ââyo<BR> + Äâyo<BR> + Ă´âyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P> <BR> @@ -1465,33 +1465,33 @@ <TD width="9%"><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">aě<BR> - uě<BR> - ëě</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ea<BR> - ië<BR> - ëi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">ię<BR> - îů<BR> - üa </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwď<BR> - řwď<BR> - îwď </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwa<BR> - řwa<BR> - îwa </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwe<BR> - řwe<BR> - îwe </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwi<BR> - řwi<BR> - îwi </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwë<BR> - řwë<BR> - îwë </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űwo<BR> - řwo<BR> - îwo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aÄ<BR> + uÄ<BR> + ĂŤÄ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">eâa<BR> + iâĂŤ<BR> + ĂŤâi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">iÄ<BR> + ĂŽĹŻ<BR> + Ăźa </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ĹąâwÄ<BR> + ĹâwÄ<BR> + ĂŽâwÄ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâwa<BR> + Ĺâwa<BR> + ĂŽâwa </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâwe<BR> + Ĺâwe<BR> + ĂŽâwe </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâwi<BR> + Ĺâwi<BR> + ĂŽâwi </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ĹąâwĂŤ<BR> + ĹâwĂŤ<BR> + ĂŽâwĂŤ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâwo<BR> + Ĺâwo<BR> + ĂŽâwo</FONT></DIV></TD> </TR> <TR> <TD height="70" bgcolor="#CCCCCC"> <DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">Form<BR> @@ -1499,33 +1499,33 @@ <TD><DIV align="center"><STRONG>stem 1<BR> stem 2<BR> stem 3</STRONG></DIV></TD> - <TD><DIV align="center"><FONT size="4">aů<BR> - ëů<BR> - iů</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">oa<BR> - ëu<BR> - uë</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">aę<BR> - üe<BR> - iű </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űyď<BR> - řyď<BR> - îyď </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űya<BR> - řya<BR> - îya </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űye<BR> - řye<BR> - îye</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űyu<BR> - řyu<BR> - îyu</FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űyë<BR> - řyë<BR> - îyë </FONT></DIV></TD> - <TD><DIV align="center"><FONT size="4">űyo<BR> - řyo<BR> - îyo</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aĹŻ<BR> + ĂŤĹŻ<BR> + iĹŻ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">oâa<BR> + ĂŤâu<BR> + uâĂŤ</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">aÄ<BR> + Ăźe<BR> + iĹą </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ĹąâyÄ<BR> + ĹâyÄ<BR> + ĂŽâyÄ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâya<BR> + Ĺâya<BR> + ĂŽâya </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâye<BR> + Ĺâye<BR> + ĂŽâye</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâyu<BR> + Ĺâyu<BR> + ĂŽâyu</FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">ĹąâyĂŤ<BR> + ĹâyĂŤ<BR> + ĂŽâyĂŤ </FONT></DIV></TD> + <TD><DIV align="center"><FONT size="4">Ĺąâyo<BR> + Ĺâyo<BR> + ĂŽâyo</FONT></DIV></TD> </TR> </TBODY></TABLE> <P align="justify"> </P> @@ -1563,8 +1563,8 @@ a verb can only be made by analyzing its derivational morphology and syntactical relationship to the rest of the sentence. Consequently, there are no stems/formatives that refer only to nouns or only to verbs as in Western languages. The formative - <STRONG>klâd</STRONG> illustrated above in Section 2.3.2.1 means both - river and to flow/run (as a river) with neither + <STRONG>klâd</STRONG> illustrated above in Section 2.3.2.1 means both + âriverâ and âto flow/run (as a river)â with neither meaning being seen as more intrinsic or fundamental, nor one deriving from the other. Such hierarchies of nominal over verbal meaning (or vice-versa) arise only in translating Ithkuil to English or other Western languages, where such @@ -1576,18 +1576,18 @@ <P align="justify"><IMG src="assets/2-6-1a.gif" width="190" height="25"><FONT color="#FFFFFF"> ______</FONT><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-2-2.mp3">Listen!</A> <A href="Sound_Files/Ch-2-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT><BR> - <EM>by the time of his death</EM> <STRONG><FONT size="2">OR</FONT></STRONG> - <EM>by the time he dies</EM></P> + <EM>âby the time of his deathâ</EM> <STRONG><FONT size="2">OR</FONT></STRONG> + <EM>âby the time he diesâ</EM></P> <P align="justify"><BR> <IMG src="assets/2-6-1b.gif" width="194" height="24"><BR> - <EM>the awful-smelling woman</EM> <STRONG><FONT size="2">OR</FONT></STRONG> - <EM>the woman smells awful</EM></P> + <EM>âthe awful-smelling womanâ</EM> <STRONG><FONT size="2">OR</FONT></STRONG> + <EM>âthe woman smells awfulâ</EM></P> <P align="justify"><BR> <IMG src="assets/2-6-1d.gif" width="208" height="23"><FONT color="#FFFFFF"> ______</FONT><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-4-2.mp3">Listen!</A> <A href="Sound_Files/Ch-4-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT><BR> - <EM>what the eagle sees</EM> <STRONG><FONT size="2">OR</FONT></STRONG> - <EM>the eagles seeing something</EM></P> + <EM>âwhat the eagle seesâ</EM> <STRONG><FONT size="2">OR</FONT></STRONG> + <EM>âthe eagleâs seeing somethingâ</EM></P> <P align="justify"><BR> The reason why nouns and verbs can function as morphological derivatives of a single part of speech is because Ithkuil morpho-semantics does not see nouns @@ -1597,8 +1597,8 @@ these two components can be thought of as spacetime. It is in this continuum of spacetime that Ithkuil instantiates semantic ideas into lexical roots, giving rise to the part of speech termed the formative. The speaker then chooses to - either <EM>spatially reify</EM> this formative into an object - or entity (i.e., a noun) or to<EM> temporally activize</EM> it + either <EM>spatially âreifyâ</EM> this formative into an object + or entity (i.e., a noun) or to<EM> temporally âactivizeâ</EM> it into an act, event, or state (i.e., a verb). This complementary process can be diagrammed as follows:</P> <BLOCKQUOTE> @@ -1609,8 +1609,8 @@ <H3>2.6.2 Adjuncts <A name="Sec2o6o2"></A></H3> <P align="justify">Adjuncts are so named because they operate in conjunction with adjacent formatives to provide additional grammatical information about the - formative, somewhat like auxiliary verbs in English (e.g., may, will, - would, do, have) or like noun determiners (e.g., the, this, those). + formative, somewhat like auxiliary verbs in English (e.g., âmay, will, + would, do, haveâ) or like noun determiners (e.g., âthe, this, thoseâ). </P> <P align="justify">Adjuncts are formed from one or more consonantal and/or vocalic affixes, combined agglutinatively. There are several different types of adjuncts, @@ -1737,40 +1737,40 @@ 1</FONT></TD> <TD><DIV align="center"><STRONG>-iC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cai</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-îC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cëi</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĂŽC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĂŤi</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-ieC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Caď</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CaÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 2</FONT></TD> <TD><DIV align="center"><STRONG>-eC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cei</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-ęC / -eiC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ÄC / -eiC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Ceu </STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-iëC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Ceď</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-iĂŤC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CeÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 3</FONT></TD> - <TD><DIV align="center"><STRONG>-äC / -aeC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-äC / -aeC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cia</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-âC /-aiC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Câ</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-âC /-aiC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Câ</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-iuC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Ciď</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CiÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 4</FONT></TD> - <TD><DIV align="center"><STRONG>-öC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĂśC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cua</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-řC / -euC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĹC / -euC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Ciu</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-ioC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Coď</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CoÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree @@ -1779,48 +1779,48 @@ <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Ca</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-uiC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cui</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-iäC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cuď</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-iäC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CuÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 6</FONT></TD> - <TD><DIV align="center"><STRONG>-üC / -ëuC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cü</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-˙C / -auC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĂźC / -ĂŤuC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĂź</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ËC / -auC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cau</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-uäC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cäi</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-uäC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cäi</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 7</FONT></TD> - <TD><DIV align="center"><STRONG>-ďC / -ëiC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cď</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-ëC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cëu</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ÄC / -ĂŤiC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CÄ</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĂŤC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĂŤu</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-uoC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cöi</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĂśi</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 8</FONT></TD> <TD><DIV align="center"><STRONG>-oC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Coi</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-ôC / -oiC / -ouC</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-Ă´C / -oiC / -ouC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cou</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-uëC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cäu</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-uĂŤC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cäu</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 9</FONT></TD> <TD><DIV align="center"><STRONG>-uC</STRONG></DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cu</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>-űC</STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cű</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>-ĹąC</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĹą</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>-ueC </STRONG></DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-Cöu</STRONG></DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center"><STRONG>-CĂśu</STRONG></DIV></TD> </TR> </TBODY></TABLE> <P align="justify">Applying the above rules to three example suffixes we can see @@ -1843,67 +1843,67 @@ <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 1</FONT></TD> <TD width="27%"><DIV align="left"><STRONG> ritik / ritkai</STRONG></DIV></TD> - <TD width="34%"><DIV align="left"><STRONG>ritîk / ritkëi</STRONG></DIV></TD> - <TD width="28%"><DIV align="left"><STRONG>ritiek / ritkaď</STRONG></DIV></TD> + <TD width="34%"><DIV align="left"><STRONG>ritĂŽk / ritkĂŤi</STRONG></DIV></TD> + <TD width="28%"><DIV align="left"><STRONG>ritiek / ritkaÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 2</FONT></TD> <TD><DIV align="left"><STRONG>ritek / ritkei </STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritęk / riteik / ritkeu</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritiëk / ritkeď</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritÄk / riteik / ritkeu</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritiĂŤk / ritkeÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 3</FONT></TD> - <TD><DIV align="left"><STRONG>ritäk / ritaek / ritkia</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritâk / ritaik / ritkâ</STRONG></DIV></TD> - <TD> <DIV align="left"><STRONG>ritiuk /ritkiď</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritäk / ritaek / ritkia</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritâk / ritaik / ritkâ</STRONG></DIV></TD> + <TD> <DIV align="left"><STRONG>ritiuk /ritkiÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 4</FONT></TD> - <TD><DIV align="left"><STRONG>ritök / ritkua</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritřk / riteuk / ritkiu</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritiok / ritkoď</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĂśk / ritkua</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĹk / riteuk / ritkiu</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritiok / ritkoÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 5</FONT></TD> <TD><DIV align="left"><STRONG>ritk / ritak / ritka</STRONG></DIV></TD> <TD><DIV align="left"><STRONG>rituik / ritkui</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritiäk / ritkuď</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritiäk / ritkuÄ</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 6</FONT></TD> - <TD><DIV align="left"><STRONG>ritük / ritëuk / ritkü</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>rit˙k / ritauk / ritkau</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>rituäk / ritkäi</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĂźk / ritĂŤuk / ritkĂź</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritËk / ritauk / ritkau</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>rituäk / ritkäi</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 7</FONT></TD> - <TD><DIV align="left"><STRONG>ritďk / ritëik / ritkď </STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritëk / ritkëu</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>rituok / ritköi</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritÄk / ritĂŤik / ritkÄ </STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĂŤk / ritkĂŤu</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>rituok / ritkĂśi</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 8</FONT></TD> <TD><DIV align="left"><STRONG>ritok /ritkoi</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritôk / ritoik / ritouk / ritkou</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>rituëk / ritkäu</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĂ´k / ritoik / ritouk / ritkou</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>rituĂŤk / ritkäu</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 9</FONT></TD> <TD><DIV align="left"><STRONG>rituk / ritku</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>ritűk / ritkű</STRONG></DIV></TD> - <TD><DIV align="left"><STRONG>rituek / ritköu</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>ritĹąk / ritkĹą</STRONG></DIV></TD> + <TD><DIV align="left"><STRONG>rituek / ritkĂśu</STRONG></DIV></TD> </TR> </TBODY></TABLE> -<P align="justify"> Because the reversed -CV form of the suffix +<P align="justify"> Because the âreversedâ -CV form of the suffix reinforces a CVC syllabic structure for the stem syllable of the word, such reversed word-final suffixes are common in Ithkuil (<A href="ithkuil-ch1-phonology.htm#Sec1o4o5">see Sec. 1.4.5</A>).</P> @@ -1941,14 +1941,14 @@ <TD bgcolor="#FFFFFF"> </TD> <TD bgcolor="#FFFFFF"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif"> 3</FONT></DIV></TD> - <TD><STRONG>-äd / -aed / -dia</STRONG></TD> + <TD><STRONG>-äd / -aed / -dia</STRONG></TD> <TD>not enough / insufficient(ly) / under-[+verb]</TD> </TR> <TR> <TD bgcolor="#FFFFFF"> </TD> <TD bgcolor="#FFFFFF"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif"> 4</FONT></DIV></TD> - <TD><STRONG>-öd / -dua</STRONG></TD> + <TD><STRONG>-Ăśd / -dua</STRONG></TD> <TD>not quite enough / somewhat insufficient(ly) / slightly under-[+verb]</TD> </TR> <TR> @@ -1962,14 +1962,14 @@ <TD bgcolor="#FFFFFF"> </TD> <TD bgcolor="#FFFFFF"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif"> 6</FONT></DIV></TD> - <TD><STRONG>-üd / -ëud / -dü</STRONG></TD> + <TD><STRONG>-Ăźd / -ĂŤud / -dĂź</STRONG></TD> <TD>a little too (much) / more than needed / slightly over-[+verb]</TD> </TR> <TR> <TD bgcolor="#FFFFFF"> </TD> <TD bgcolor="#FFFFFF"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif"> 7</FONT></DIV></TD> - <TD><STRONG>-ďd / -ëid / -dď</STRONG></TD> + <TD><STRONG>-Äd / -ĂŤid / -dÄ</STRONG></TD> <TD>too / too much / over-[+verb]</TD> </TR> <TR> @@ -1991,14 +1991,14 @@ 2.7.3 Vocalic Affixes</H3> <P align="justify">Other than the stem-infixes previously discussed in <A href="ithkuil-ch2-morphophonology.htm#Sec2o3">Section 2.3</A> et seq., the use of vocalic affixes (i.e., affixes based on vowels rather - than consonants) in Ithkuil occurs in several contexts vocalic prefixes + than consonants) in Ithkuil occurs in several contexts â vocalic prefixes to formatives, vocalic prefixes and suffixes to adjuncts, and the anaptyctic - affixes -<STRONG>ď</STRONG>-, and -<STRONG>a</STRONG>. Each of these contexts + affixes -<STRONG>Ä</STRONG>-, and -<STRONG>a</STRONG>. Each of these contexts is discussed below:</P> <P align="justify"><STRONG>2.7.3.1 Vocalic Prefixes</STRONG>. Vocalic prefixes are used with both formatives and adjuncts, and consist of either single vowels or two-vowel conjuncts or diphthongs (e.g., <STRONG>a</STRONG>-, <STRONG>ui</STRONG>-, - <STRONG>ae</STRONG>-, <STRONG>ia</STRONG>-, <STRONG>ö</STRONG>-, <STRONG>eu</STRONG>-, + <STRONG>ae</STRONG>-, <STRONG>ia</STRONG>-, <STRONG>Ăś</STRONG>-, <STRONG>eu</STRONG>-, etc.). Additionally, these prefixes can take an initial <STRONG>w</STRONG>- or <STRONG>y</STRONG>- increment. While these prefixes are often highly synthetic morphologically (i.e., a single prefix can carry information for multiple grammatical @@ -2012,17 +2012,17 @@ can be multiple vocalic suffixes on an adjunct, joined agglutinatively (i.e., added on one after the other) with intervening consonantal affixes.</P> <P align="justify"><STRONG><A name="Sec2o7o3o3"></A>2.7.3.3 Anaptyctic Vowels - -ď- and -a</STRONG>. Sometimes the grammatical rules of a language require + -Ä- and -a</STRONG>. Sometimes the grammatical rules of a language require a meaningless phonemic increment to be affixed to a word, whether as a prefix, suffix, or infix. This is known as anaptyxis. As will be discussed in <A href="ithkuil-ch7a-affixes.html" target="mainFrame">Chapter - 7: Using Affixes</A>, an anaptyctic infix, -<STRONG>ď</STRONG>-, is used + 7: Using Affixes</A>, an anaptyctic infix, -<STRONG>Ä</STRONG>-, is used in Ithkuil to separate consonantal prefixes from the <STRONG>C<FONT size="1">1</FONT></STRONG> stem consonantal radical wherever necessary for phonotactical euphony or to prevent confusion in misinterpreting the prefix consonant(s) as part of the <STRONG>C<FONT size="1">1</FONT></STRONG> radical. For example, while the prefix <STRONG><FONT face="Arial, Helvetica, sans-serif">s</FONT></STRONG>- is phonotactically permissible before the stem <STRONG><FONT face="Arial, Helvetica, sans-serif">kaf</FONT></STRONG>, - the resulting word must be <FONT face="Arial, Helvetica, sans-serif"><STRONG>sďkaf</STRONG></FONT>, + the resulting word must be <FONT face="Arial, Helvetica, sans-serif"><STRONG>sÄkaf</STRONG></FONT>, not <STRONG><FONT face="Arial, Helvetica, sans-serif">skaf</FONT></STRONG>, as the latter is a completely different stem employing a <STRONG>C<FONT size="1">1</FONT></STRONG> radical <FONT face="Arial, Helvetica, sans-serif"><STRONG>sk</STRONG></FONT>-.</P> @@ -2032,10 +2032,10 @@ In such cases, the number of syllables must be increased to three. Sometimes this can be done by restructuring any consonantal affixes the word may have, but more often than not, anaptyctic vowels must be affixed. In this case the - anaptyctic vowel <STRONG>ď</STRONG>- can be prefixed to a word beginning + anaptyctic vowel <STRONG>Ä</STRONG>- can be prefixed to a word beginning with a consonant (usually nominal formatives), and/or an anaptyctic vowel -<STRONG>a</STRONG> can be suffixed to the end of a word, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">kfuil - <IMG src="assets/arrow.gif" width="17" height="9"> ďkfůila</FONT></STRONG>. + <IMG src="assets/arrow.gif" width="17" height="9"> ÄkfĹŻila</FONT></STRONG>. This anaptyctic suffix -<STRONG>a</STRONG> is also required for phonotactical euphony when grammatical rules require the mutation of the second radical <STRONG>C<FONT size="1">2</FONT></STRONG> to a form which is not permissible in word-final position, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">t @@ -2115,7 +2115,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or +<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P> </P> diff --git a/2004-en-alt/ithkuil-ch3-basic-morphology.html b/2004-en-alt/ithkuil-ch3-basic-morphology.html index 3a2e8c7..e355917 100755..100644 --- a/2004-en-alt/ithkuil-ch3-basic-morphology.html +++ b/2004-en-alt/ithkuil-ch3-basic-morphology.html @@ -101,8 +101,8 @@ cognitively distinct from one another, but rather as complementary manifestations of ideas existing in a common underlying semantic continuum whose components are space and time. The equivalents to nouns and verbs in other languages are - merely reified (or nominalized) and activized (or - verbalized) derivatives of semantic formatives. Nevertheless, for simplicitys + merely âreifiedâ (or nominalized) and âactivizedâ (or + verbalized) derivatives of semantic formatives. Nevertheless, for simplicityâs sake, we will refer to nominal formatives as nouns and verbal formatives as verbs when discussing their morphology.</P> <P align="justify">All Ithkuil formatives, whether functioning as nouns or verbs, @@ -138,20 +138,20 @@ composition, separability, compartmentalization, physical similarity or componential structure. This is best explained and illustrated by means of analogies to certain English sets of words.</P> -<P align="justify">Consider the English word tree. In English, a +<P align="justify">Consider the English word âtree.â In English, a single tree may stand alone out of context, or it may be part of a group of trees. Such a group of trees may simply be two or more trees considered as a plural category based on mere number alone, e.g., two, three, or twenty trees. However, it is the nature of trees to exist in more contextually relevant groupings than merely numerical ones. For example, the trees may be of like species as - in a grove of trees. The grouping may be an assortment of different - kinds of trees as in a forest or occur in patternless disarray - such as a jungle.</P> -<P align="justify">As another example, we can examine the English word person. - While persons may occur in simple numerical groupings such as a (single) - person or three persons it is more common to find persons + in a âgroveâ of trees. The grouping may be an assortment of different + kinds of trees as in a âforestâ or occur in patternless disarray + such as a âjungle.â</P> +<P align="justify">As another example, we can examine the English word âperson.â + While persons may occur in simple numerical groupings such as âa (single) + personâ or âthree personsâ it is more common to find persons (i.e., people) referred to by words which indicate various groupings such as - group, gathering, crowd, etc. </P> + âgroup,â âgathering,â âcrowd,â etc. </P> <P align="justify">Segmentation and amalgamated componential structure are further configurative principles which distinguish related words in English. The relationships between <EM>car</EM> versus <EM>convoy</EM>, <EM>hanger</EM> versus <EM>rack</EM>, @@ -162,18 +162,18 @@ <P align="justify">Another type of contextual grouping of nouns occurs in binary sets, particularly in regard to body parts. These binary sets can comprise two identical referents as in <EM>a pair of eyes</EM>, however they are more often - opposed or mirror-image (i.e., complementary) sets as in <EM>limbs</EM>, + opposed or âmirror-imageâ (i.e., complementary) sets as in <EM>limbs</EM>, <EM>ears</EM>, <EM>hands</EM>, <EM>wings</EM>, etc.</P> <P align="justify">In Ithkuil, the semantic distinctions implied by the above examples as they relate to varying assortments of trees or persons would be - accomplished by inflecting the word-stem for tree or person + accomplished by inflecting the word-stem for âtreeâ or âpersonâ into one of nine configurations. Additional semantic distinctions on the basis of purpose or function between individual members of a set could then be made by means of Affiliation (see <A href="ithkuil-ch3-morphology.htm#Sec3o2">Section 3.2</A> below) and by - the use of specific affixes. For example, once the words for forest - or crowd were derived from tree and person - via Configuration, the Ithkuil words for orchard, copse, - team or mob could easily be derived via affiliation + the use of specific affixes. For example, once the words for âforestâ + or âcrowdâ were derived from âtreeâ and âpersonâ + via Configuration, the Ithkuil words for âorchard,â âcopse,â + âteamâ or âmobâ could easily be derived via affiliation and affixes. (Such derivations into new words using affixes are explored in detail in <A href="ithkuil-ch7a-affixes.html" onclick="javascript:changenav7();">Chapter 7: Using Affixes</A>.)</P> @@ -217,14 +217,14 @@ </DIV> <P align="justify">The <FONT size="2">DUPLEX</FONT> configuration is marked by Grade 2 mutation of the C<FONT size="1">1</FONT> radical consonant and indicates - a related binary set. While it often refers to body parts, e.g., ones + a related binary set. While it often refers to body parts, e.g., oneâs eyes, ears, lungs, wings, etc., it can also be used to describe any set of two identical or complementary objects or entities, e.g., <EM>a matched pair of vases, a two-volume set, a set of bookends, mutual opponents</EM>. Thus, the Ithkuil word for <EM>spouse</EM> inflected for the <FONT size="2">DUPLEX</FONT> configuration would translate as <EM>a man and wife</EM> or <EM>a married couple</EM>.</P> <P align="justify">One context in which the <FONT size="2">DUPLEX</FONT> appears - for both nouns and verbs is with events which contain two complementary halves + for both nouns and verbs is with events which contain two complementary âhalvesâ exemplified by English words such as <EM>bounce</EM>, <EM>flash</EM>, <EM>arc</EM>, <EM>wag</EM>, <EM>swing</EM>, <EM>switch</EM>, <EM>breathe/respiration</EM>, indeed, any concept which involves a dual-state notion of up/down, to/fro, back/forth, @@ -233,7 +233,7 @@ For example the word for <EM>hammer blow</EM> inflected for the <FONT size="2">UNIPLEX</FONT> would signify the singular impact of the hammer, whereas the same word inflected for the <FONT size="2">DUPLEX</FONT> signifies a single down-then-up cycle of - the swing of the hammer, the two complementary halves of the action + the swing of the hammer, the two complementary âhalvesâ of the action being divided by the impact.</P> <BR> @@ -262,7 +262,7 @@ or <EM>object</EM> inflected for the <FONT size="2">DISCRETE</FONT> configuration. Note that the distinction between a spatially configured set versus a temporally (i.e., iterative) configured set would be made by use of an additional affix, - -V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT>, + -V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄk</STRONG></FONT>, specifying which spacetime axis is implied. This affix is analyzed in <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13" onclick="javascript:changenav7();">Sec. 7.7.13</A>.</P> <P align="justify">For verbs, the <FONT size="2">DISCRETE</FONT> signifies a single @@ -428,7 +428,7 @@ by Grade 9 mutation of the C<FONT size="1">1</FONT> radical consonant and is the most difficult to explain, as there is no Western linguistic equivalent. The <FONT size="2">MULTIFORM</FONT> serves to identify the noun as an individual - member of a fuzzy set. A fuzzy set is a term which originates + member of a âfuzzyâ set. A fuzzy set is a term which originates in non-traditional logic, describing a set whose individual members do not all share the same set-defining attributes to the same degree, i.e., while there may be one or more archetypical members of the set which display the defining @@ -436,12 +436,12 @@ vary from this archetypical norm by a wide range of degrees, whether in physical resemblance, degree of cohesion or both. Indeed, some members of the set may display very little resemblance to the archetype and be closer to the archetype - of a different fuzzy set, i.e., fuzzy sets allow for the idea of gradient - overlap between members of differing sets.</P> + of a different fuzzy set, i.e., fuzzy sets allow for the idea of âgradient + overlapâ between members of differing sets.</P> <P align="justify">It is difficult to accurately translate into English without resorting to paraphrase the sorts of concepts that Ithkuil easily expresses using the <FONT size="2">MULTIFORM</FONT>. For example, the Ithkuil word for - tree inflected for the <FONT size="2">MULTIFORM</FONT> configuration + âtreeâ inflected for the <FONT size="2">MULTIFORM</FONT> configuration would mean something like <EM>a group of what appear to be trees</EM>, or better yet, <EM>a group of tree-like objects</EM> (i.e., some being trees, and others seeming less like trees). Essentially, any set of entities whose similarity @@ -519,7 +519,7 @@ normally applied to nouns in the <FONT size="2">UNIPLEX</FONT> configuration when spoken of in a neutral way, since a noun in the <FONT size="2">UNIPLEX</FONT> specifies one single entity without reference to a set, therefore the concept - of shared function would be inapplicable. Examples: <EM>a man, + of âsharedâ function would be inapplicable. Examples: <EM>a man, a door, a sensation of heat, a leaf</EM>. With verbs, the <FONT size="2">CONSOLIDATIVE</FONT> would imply that the act, state, or event is occurring naturally, or is neutral as to purpose or design.</P> @@ -550,12 +550,12 @@ orchard</EM>. </P> <P align="justify">The <FONT size="2">ASSOCIATIVE</FONT> affiliation can also be used with nouns in the <FONT size="2">UNIPLEX</FONT> configuration to signify - a sense of unity amongst ones characteristics, purposes, thoughts, etc. + a sense of unity amongst oneâs characteristics, purposes, thoughts, etc. For example, the word <EM>person</EM> inflected for the <FONT size="2">UNIPLEX</FONT> and <FONT size="2">ASSOCIATIVE</FONT> would translate as <EM>a single-minded person</EM>. Even nouns such as <EM>rock</EM>, <EM>tree</EM> or <EM>work of art</EM> could be inflected this way, subjectively translatable as <EM>a well-formed - rock, a tree with integrity</EM>, <EM>a balanced work of art</EM>.</P> + rock, a tree with integrity</EM>, <EM>a âbalancedâ work of art</EM>.</P> <P align="justify">With verbs, the <FONT size="2">ASSOCIATIVE</FONT> signifies that the act, state or event is by design or with specific purpose. The <FONT size="2">CONSOLIDATIVE</FONT> versus <FONT size="2">ASSOCIATIVE</FONT> distinction could be used, for example, @@ -586,7 +586,7 @@ a rag-tag group, a dysfunctional couple, a cacophony of notes, of a mess of books, a collection in disarray</EM>. It operates with nouns in the <FONT size="2">UNIPLEX</FONT> to render meanings such as <EM>a man at odds with himself, an ill-formed rock, - a chaotic piece of art, a lefthand-righthand situation</EM>.</P> + a chaotic piece of art, a âlefthand-righthandâ situation</EM>.</P> <P align="justify">With verbs, the <FONT size="2">VARIATIVE</FONT> indicates an act, state, or event that occurs for more than one reason or purpose, and that those reasons or purposes are more or less unrelated. This sense can probably @@ -615,16 +615,16 @@ <P align="justify">The <FONT size="2">COALESCENT</FONT> affiliation indicates that the members of a configurational set share in a complementary relationship with respect to their individual functions, states, purposes, benefits, etc. - This means that, while each members function is distinct from those of + This means that, while each memberâs function is distinct from those of other members, each serves in furtherance of some greater unified role. For example, the Ithkuil word translating English <EM>toolset</EM> would be the word for <EM>tool</EM> in the <FONT size="2">AGGREGATIVE</FONT> configuration - (due to each tools distinct physical appearance) and the <FONT size="2">COALESCENT</FONT> + (due to each toolâs distinct physical appearance) and the <FONT size="2">COALESCENT</FONT> affiliation to indicate that each tool has a distinct but complementary function in furtherance of enabling construction or repair activities. Another example would be the Ithkuil word for <EM>finger</EM> inflected for the <FONT size="2">SEGMENTATIVE</FONT> configuration and the <FONT size="2">COALESCENT</FONT> affiliation, translatable - as the fingers on ones hand (note the use of the <FONT size="2">SEGMENTATIVE</FONT> + as the fingers on oneâs hand (note the use of the <FONT size="2">SEGMENTATIVE</FONT> to imply the physical connection between each finger via the hand). A further example would be using the <FONT size="2">COALESCENT</FONT> with the word for <EM>(piece of) food</EM> to signify <EM>a well-balanced meal.</EM></P> @@ -632,10 +632,10 @@ often in conjunction with the <FONT size="2">DUPLEX</FONT> configuration since binary sets tend to be complementary. It is used, for example, to signify symmetrical binary sets such as body parts, generally indicating a lefthand/righthand mirror-image - distinction, e.g., <EM>ones ears, ones hands, a pair of wings</EM>. + distinction, e.g., <EM>oneâs ears, oneâs hands, a pair of wings</EM>. Pairs that do not normally distinguish such a complementary distinction (e.g., - <EM>ones eyes</EM>) can nevertheless be optionally placed in the <FONT size="2">COALESCENT</FONT> - affiliation to emphasize bilateral symmetry (e.g., <EM>ones left and + <EM>oneâs eyes</EM>) can nevertheless be optionally placed in the <FONT size="2">COALESCENT</FONT> + affiliation to emphasize bilateral symmetry (e.g., <EM>oneâs left and right eye functioning together</EM>).</P> <P align="justify">With verbs, the <FONT size="2">COALESCENT</FONT> signifies that related, synergistic nature of the component acts, states, and events which @@ -662,7 +662,7 @@ specifically address the quantity to which a formative is instantiated within a given context, nor when it occurs relative to the present, but rather the manner in which it is <EM>spatio-temporally instantiated</EM>. Specifically, - Perspective indicates whether a noun or verb is to be identified as 1) a bounded + Perspective indicates whether a noun or verb is to be identified as 1) a âboundedâ contextual entity (i.e., having a spatio-temporally unified or accessible manifestation), 2) an unbounded entity (i.e., manifested as spatio-temporally separated or inaccessible), 3) as a unified collective or generic entity throughout spacetime, or 4) as @@ -676,21 +676,21 @@ Affiliation (see<FONT color="#FF0000"> </FONT><A href="ithkuil-ch3-morphology.htm#Sec3o1">Secs. 3.1</A><FONT color="#FF0000"> </FONT>and<FONT color="#FF0000"> </FONT><A href="ithkuil-ch3-morphology.htm#Sec3o2">3.2</A> above) already contain an implicit numerical element due to the fact that they usually describe - multi-membered sets. It is for all these reasons that the terms singular - and plural have been avoided. </P> + multi-membered sets. It is for all these reasons that the terms âsingularâ + and âpluralâ have been avoided. </P> <P align="justify"><STRONG>Perspective with Verbs</STRONG>. For verbs, the aspect - of boundedness inherent in Perspective does not imply a quantitative - context but rather an aspect of spatio-temporal accessibility, + of âboundednessâ inherent in Perspective does not imply a quantitative + context but rather an aspect of spatio-temporal âaccessibility,â i.e., whether or not an act, state, or event can be viewed as a unified whole - within the present temporal context. This is a long way from the tense + within the present temporal context. This is a long way from the âtenseâ categories of Western languages. In Ithkuil, the notion of linearly progressive time is not inherently expressed in the verb (although it can be specified, if necessary, using various aspectual markers - see <A href="ithkuil-ch6-moreverbs.htm#Sec6o4">Sec. 6.4</A>).</P> <P align="justify">There are four perspectives in Ithkuil: <FONT size="2">MONADIC</FONT>, <FONT size="2">UNBOUNDED</FONT>, <FONT size="2">NOMIC</FONT>, and <FONT size="2">ABSTRACT</FONT>. - They are shown morpho-phonologically by shifts in a formatives syllabic - stress patterns. Each perspectives specific meaning and usage is detailed + They are shown morpho-phonologically by shifts in a formativeâs syllabic + stress patterns. Each perspectiveâs specific meaning and usage is detailed below.</P><BR> @@ -703,21 +703,21 @@ </TR> </TBODY></TABLE> <P align="justify">The <FONT size="2">MONADIC</FONT> signifies a bounded embodiment - of a particular configuration. By bounded embodiment is meant + of a particular configuration. By âbounded embodimentâ is meant a contextual entity which, though possibly numerous in membership or multifaceted in structure, or spread out through a time duration, is nevertheless being contextually - viewed and considered as a monad, a single, unified whole perceived + viewed and considered as a âmonad,â a single, unified whole perceived to exist within a literal or figurative psychologically uninterrupted boundary. This is important, since configurations other than the <FONT size="2">UNIPLEX</FONT> technically imply more than one discrete entity/instance being present or taking place. For nouns, this boundary is physically contiguous, like a container, - corresponding to the surface of an object (whether literal or + corresponding to the âsurfaceâ of an object (whether literal or psychological). For verbs, this boundary is psychologically temporal, specifically - the present (which in Ithkuil might be better thought of as the - context at hand or the immediately accessible context). - This distinction as to how bounded embodiment is interpreted for + the âpresentâ (which in Ithkuil might be better thought of as the + âcontext at handâ or the âimmediately accessible contextâ). + This distinction as to how âbounded embodimentâ is interpreted for nouns and verbs is appropriate, given that Ithkuil considers nouns as <EM>spatially - reified</EM> concepts while considering verbs to be their <EM>temporally activized</EM> + reified</EM> concepts while considering verbs to be their <EM>temporally âactivizedâ</EM> counterparts (<A href="ithkuil-ch2-morphophonology.htm#Sec2o6o1">see Section 2.6.1</A>).</P> <P align="justify">Thus, using the word <EM>tree</EM> for example, while there might be many trees present in terms of number, the <FONT size="2">MONADIC</FONT> @@ -726,16 +726,16 @@ an example, the <FONT size="2">MONADIC</FONT> would mean there is only one <FONT size="2">AGGREGATIVE</FONT> set of trees, i.e., one <EM>forest</EM>. </P> <P align="justify">At this point, it should be noted in regard to Perspective - that Ithkuil makes no distinction between count and non-count - (or mass) nouns. In languages such as English, nouns differ between + that Ithkuil makes no distinction between âcountâ and ânon-countâ + (or âmassâ) nouns. In languages such as English, nouns differ between those that can be counted and pluralized (e.g., <EM>one apple, four boys, several nations</EM>), and those which cannot be counted or pluralized (e.g., <EM>water, sand, plastic, air, laughter</EM>). All nouns are countable in Ithkuil in that all nouns can exist as contextual monads. As a result, English translations - of certain Ithkuil nouns must often be contextual rather than + of certain Ithkuil nouns must often be âcontextualâ rather than literal, employing various conventions to put the noun in a numerical and pluralizable - context, e.g., some dirt, the air here or a - puff of air rather than a dirt or an air.</P> + context, e.g., âsome dirt,â âthe air hereâ or âa + puff of airâ rather than âa dirtâ or âan air.â</P> <P align="justify">With verbs, the <FONT size="2">MONADIC</FONT> superficially corresponds in a very approximate fashion with Western present tense categories except in a habitual sense. As noted above, the bounded embodiment conveyed @@ -775,12 +775,12 @@ </FONT> </DIV> </LI> </UL> -<P align="justify">By accessible past or accessible future +<P align="justify">By âaccessible pastâ or âaccessible futureâ is meant a past or future where the speaker was (or will be) spatially present - at the time and the time elapsed between then and now is psychologically + at the time and the time elapsed between then and ânowâ is psychologically contiguous, i.e., the speaker views the passage of time from then till now as one continuous temporal flow of moments, not as disconnected memories, disconnected - predictions, or historical reports. Conversely, inaccessible would + predictions, or historical reports. Conversely, âinaccessibleâ would mean a past or future where the speaker was not or will not be present or which he/she knows only from memory, reports, or predictions.</P> <P align="justify">The <FONT size="2">MONADIC</FONT> is marked by penultimate @@ -795,19 +795,19 @@ <TD width="67%"><FONT size="4"><STRONG>The Unbounded</STRONG></FONT></TD> </TR> </TBODY></TABLE> -<P align="justify">The <FONT size="2">UNBOUNDED</FONT> signifies unbounded - embodiment of a particular configurative entity, meaning that the noun +<P align="justify">The <FONT size="2">UNBOUNDED</FONT> signifies âunbounded + embodimentâ of a particular configurative entity, meaning that the noun or verb manifests itself as not being contained within an uninterrupted boundary, - i.e., in contextually disconnected manifestations. For nouns, - the term plural has been avoided so as not to imply that the member + i.e., in contextually âdisconnectedâ manifestations. For nouns, + the term âpluralâ has been avoided so as not to imply that the member nouns are not being referred to quantitatively per se, but rather as a non-monadic (i.e., non-unified) manifestation of a configurative set. While the most convenient translation into English would be to use the plural, e.g., trees, groves, lumps of dirt, a semantically (if not morphologically) more accurate rendering would - be a tree here, a tree there, this grove and another and - another
, dirt-lump after dirt-lump after dirt-lump
. + be âa tree here, a tree there,â âthis grove and another and + anotherâŚ,â âdirt-lump after dirt-lump after dirt-lumpâŚ.â </P> -<P align="justify">For verbs, unbounded embodiment means that the +<P align="justify">For verbs, âunbounded embodimentâ means that the psychological temporal boundary of an act, state, or event is not accessible from the present context. This would apply to an act, state, or event which:</P> <UL> @@ -895,7 +895,7 @@ suffixes, all Ithkuil nouns in all Configurative categories can be made into abstracts, the translations of which must often be periphrastic in nature, e.g., <EM>grove</EM> <IMG src="assets/arrow.gif" width="17" height="9"> - <EM>the idea of being a grove</EM> or <EM>grovehood</EM>; <EM>book</EM> + <EM>the idea of being a grove</EM> or <EM>âgrovehoodâ</EM>; <EM>book</EM> <EM><IMG src="assets/arrow.gif" width="17" height="9"> everything about books, having to do with books, involvement with books</EM>.</P> <P align="justify">With verbs, the <FONT size="2">ABSTRACT</FONT> is used in verbal @@ -916,12 +916,12 @@ <P align="justify">The <FONT size="2">ABSTRACT</FONT> is marked in either of two ways: (1) by preantepenultimate stress, i.e., on the fourth-to-last syllable, or (2) by a combination of ultimate stress plus the addition of an anaptyctic - vowel -<STRONG>ď</STRONG>- or -<STRONG>a</STRONG>- in any morpho-phonologically + vowel -<STRONG>Ä</STRONG>- or -<STRONG>a</STRONG>- in any morpho-phonologically permissible position of the word (as previously described in <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o3o3">Sec. 2.7.3.3</A>). This extra vowel can be placed at any position within the word except within the stem, as long as the vowel does not lead to confusion or ambiguity in interpreting the phonological boundaries of any other suffixes to the stem. - (Note that in word-final position, only anatyctic -<STRONG>a</STRONG>, not -<STRONG>ď</STRONG>, + (Note that in word-final position, only anatyctic -<STRONG>a</STRONG>, not -<STRONG>Ä</STRONG>, is permitted.)</P> <P align="justify"> </P> @@ -981,39 +981,39 @@ <TD width="9%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CSL</STRONG></DIV></TD> <TD width="21%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">CONSOLIDATIVE</FONT></DIV></TD> <TD><DIV align="center"><STRONG>(a-)*</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>â-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>â-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>ai-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>au-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ä-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ö-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ä-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>Ăś-</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>ASO</STRONG></DIV></TD> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">ASSOCIATIVE</FONT></DIV></TD> <TD><DIV align="center"><STRONG>u-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ű-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>Ĺą-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>ui-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>iu-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ü-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ë-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>Ăź-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ĂŤ-</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>VAR</STRONG></DIV></TD> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">VARIATIVE</FONT></DIV></TD> <TD><DIV align="center"><STRONG>e-</STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ę-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>Ä-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>ei-</STRONG></DIV></TD> <TD><DIV align="center"><STRONG>eu- </STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ëi- </STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ëu-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ĂŤi- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ĂŤu-</STRONG></DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>COA</STRONG></DIV></TD> <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">COALESCENT</FONT></DIV></TD> <TD><DIV align="center"><STRONG>i- </STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>î- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ĂŽ- </STRONG></DIV></TD> <TD><DIV align="center"><STRONG>o- </STRONG></DIV></TD> - <TD><DIV align="center"><STRONG>ô- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>Ă´- </STRONG></DIV></TD> <TD><DIV align="center"><STRONG>ae- </STRONG></DIV></TD> <TD><DIV align="center"><STRONG>ea-</STRONG></DIV></TD> </TR> @@ -1053,7 +1053,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> beyond which the noun or verb does not exist or occur. The graphic to the right illustrates the spatio-temporal relationship of a concept in the <FONT size="2">DELIMITIVE</FONT> to the context at-hand (i.e., the - spatio-temporal present).</DIV></TD> + spatio-temporal âpresentâ).</DIV></TD> <TD><IMG src="assets/3-4-1.gif" width="344" height="203"></TD> </TR> </TBODY></TABLE> @@ -1080,15 +1080,15 @@ of knowing the formative's nominal or verbal status.</FONT><BR> tree are not relevant or applicable to the context at hand. With verbs, this extension signifies that it is not the entirety of an act, state, or event which is being considered, but rather the spatial extent or durational period of the - act, state, or event relevant to the context, e.g., <EM>Shes on a diet - every winter</EM> (i.e., focus on having to live on a diet, not + act, state, or event relevant to the context, e.g., <EM>Sheâs on a diet + every winter</EM> (i.e., focus on âhaving to live onâ a diet, not the total time spent dieting from start to finish). </P> <P align="justify"></P> <TABLE width="86%" border="0" cellpadding="0"> <TBODY><TR> <TD width="55%"><DIV align="justify">The graphic to the right illustrates the spatio-temporal relationship of a noun or verbal concept in the <FONT size="2">PROXIMAL</FONT> - to the context at-hand (i.e., the spatio-temporal present).</DIV></TD> + to the context at-hand (i.e., the spatio-temporal âpresentâ).</DIV></TD> <TD width="45%"><IMG src="assets/3-4-2.gif" width="356" height="251"></TD> </TR> </TBODY></TABLE> @@ -1107,16 +1107,16 @@ of knowing the formative's nominal or verbal status.</FONT><BR> be used in translating the nouns <EM>tunnel</EM>, <EM>song</EM>, <EM>desert</EM>, <EM>daybreak</EM> and <EM>plan</EM> in the following sentences: <EM>We looked into (the mouth of) the tunnel, He recognizes that song </EM>(i.e., from the - first few notes)<EM>, They came upon (an expanse of) desert, Lets wait - for daybreak, Im working out a plan</EM> (i.e., that I just thought of). - In verbal contexts it would correspond to the English to begin (to)
- or to start (to)
as in <EM>He began reading, Its + first few notes)<EM>, They came upon (an expanse of) desert, Letâs wait + for daybreak, Iâm working out a plan</EM> (i.e., that I just thought of). + In verbal contexts it would correspond to the English âto begin (to)âŚâ + or âto start (to)âŚâ as in <EM>He began reading, Itâs starting to molt, or She goes on a diet every winter</EM>.</P> <TABLE width="86%" border="0" cellpadding="0"> <TBODY><TR> <TD><DIV align="justify">The graphic to the right illustrates the spatio-temporal relationship of a noun or verbal concept in the <FONT size="2">INCEPTIVE</FONT> - to the context at-hand (i.e., the spatio-temporal present).</DIV></TD> + to the context at-hand (i.e., the spatio-temporal âpresentâ).</DIV></TD> <TD><IMG src="assets/3-4-3.gif" width="361" height="227"></TD> </TR> </TBODY></TABLE> @@ -1133,15 +1133,15 @@ of knowing the formative's nominal or verbal status.</FONT><BR> the end, termination, last portion, or trailing boundary of a noun, without focusing on the preceding or previously existing state of the noun. It would be used in translating the words <EM>water</EM>, <EM>story</EM>, and <EM>arrival</EM> - in the sentences <EM>Theres no water</EM> (i.e., we ran out), <EM>I like + in the sentences <EM>Thereâs no water</EM> (i.e., we ran out), <EM>I like the end of that story</EM>, and <EM>We await your arrival</EM>. With verbs, - it is illustrated by the sentences <EM>It finished molting</EM> or <EM>Shes + it is illustrated by the sentences <EM>It finished molting</EM> or <EM>Sheâs come off her diet</EM>.</P> <TABLE width="86%" border="0" cellpadding="0"> <TBODY><TR> <TD><DIV align="justify">The graphic to the right illustrates the spatio-temporal relationship of a noun or verbal concept in the <FONT size="2">TERMINATIVE</FONT> - to the context at-hand (i.e., the spatio-temporal present).</DIV></TD> + to the context at-hand (i.e., the spatio-temporal âpresentâ).</DIV></TD> <TD><IMG src="assets/3-4-4.gif" width="378" height="246"></TD> </TR> </TBODY></TABLE> @@ -1155,21 +1155,21 @@ of knowing the formative's nominal or verbal status.</FONT><BR> </TR> </TBODY></TABLE> <P align="justify">The <FONT size="2">DEPLETIVE</FONT> extension focuses on the - terminal boundary or trailing edge of a noun, where this terminus - is ill-defined, diffuse or extended to some degree, (i.e. the - at-hand context of the noun peters out or terminates gradually). + terminal boundary or âtrailingâ edge of a noun, where this terminus + is ill-defined, âdiffuseâ or extended to some degree, (i.e. the + at-hand context of the noun âpeters outâ or terminates gradually). Essentially, it applies to any context involving actual or figurative fading. It would be used in translating the words <EM>water</EM>, <EM>strength</EM>, and <EM>twilight</EM> in the sentences <EM>He drank the last of the water, I have little strength left, She disappeared into the twilight</EM>. With verbs, it is exemplified by the phrases <EM>to wind down, to fade out, to disappear - gradually</EM> and similar notions, e.g., <EM>Shes eating less and less + gradually</EM> and similar notions, e.g., <EM>Sheâs eating less and less these days</EM>.</P> <TABLE width="88%" border="0" cellpadding="0"> <TBODY><TR> <TD width="38%"><DIV align="justify">The graphic to the right illustrates the spatio-temporal relationship of a noun or verbal concept in the <FONT size="2">DEPLETIVE</FONT> - to the context at-hand (i.e., the spatio-temporal present).</DIV></TD> + to the context at-hand (i.e., the spatio-temporal âpresentâ).</DIV></TD> <TD width="62%"><IMG src="assets/3-4-5.gif" width="373" height="237"></TD> </TR> </TBODY></TABLE> @@ -1183,18 +1183,18 @@ of knowing the formative's nominal or verbal status.</FONT><BR> </TR> </TBODY></TABLE> <P align="justify">The <FONT size="2">GRADUATIVE</FONT> extension is the inverse - of the <FONT size="2">DEPLETIVE</FONT>, focusing on a diffuse, extended fade-in + of the <FONT size="2">DEPLETIVE</FONT>, focusing on a diffuse, extended âfade-inâ or gradual onset of a noun. It would be used in translating the words <EM>darkness</EM>, <EM>wonder</EM>, and <EM>music</EM> in the following sentences: <EM>Darkness came upon us, I felt a growing sense of wonder, The music was very soft at first</EM>. With verbs it is illustrated by verbs and phrases such as <EM>to fade in, to - start gradually, to build up</EM>, and similar notions, e.g., <EM>Shes + start gradually, to build up</EM>, and similar notions, e.g., <EM>Sheâs been eating more and more lately</EM>.</P> <TABLE width="88%" border="0" cellpadding="0"> <TBODY><TR> <TD width="50%"><DIV align="justify">The graphic to the right illustrates the spatio-temporal relationship of a noun in the <FONT size="2">GRADUATIVE</FONT> to the - context at-hand (i.e., the spatio-temporal present).</DIV></TD> + context at-hand (i.e., the spatio-temporal âpresentâ).</DIV></TD> <TD width="50%"><IMG src="assets/3-4-6.gif" width="371" height="215"></TD> </TR> </TBODY></TABLE> @@ -1210,11 +1210,11 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <TD width="27%"><IMG src="assets/3-4-7d.gif" width="76" height="67"></TD> </TR> <TR> - <TD><EM>piece of clothing <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>set/suit of clothes</EM></TD> + <TD><EM>âpiece of clothingâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âset/suit of clothesâ</EM></TD> <TD> </TD> - <TD><EM>hand <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>pair of hands</EM></TD> + <TD><EM>âhandâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âpair of handsâ</EM></TD> </TR> </TBODY></TABLE> <EM><BR> @@ -1229,11 +1229,11 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <TD width="27%"><IMG src="assets/3-4-7h.gif" width="116" height="74"></TD> </TR> <TR> - <TD><EM>oak tree <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>trailing edge of an oak forest</EM></TD> + <TD><EM>âoak treeâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âtrailing edge of an oak forestâ</EM></TD> <TD> </TD> - <TD><EM>upland <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>foothills</EM></TD> + <TD><EM>âuplandâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âfoothillsâ</EM></TD> </TR> </TBODY></TABLE> <EM><BR> @@ -1245,8 +1245,8 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <TD><IMG src="assets/3-4-7j.gif" width="78" height="65"></TD> </TR> <TR> - <TD><EM>something yellow <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>a mess of varying yellow things as far as the eye can see</EM></TD> + <TD><EM>âsomething yellowâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âa mess of varying yellow things as far as the eye can seeâ</EM></TD> </TR> </TBODY></TABLE> <BR> @@ -1260,12 +1260,12 @@ of knowing the formative's nominal or verbal status.</FONT><BR> </TD> </TR> <TR> - <TD><EM>clown</EM></TD> - <TD><EM>running <BR> - stride <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> - <TD><EM>Something makes the group of running clowns begin stumbling + <TD><EM>âclownâ</EM></TD> + <TD><EM>ârunning <BR> + strideâ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>âSomething makes the group of running clowns begin stumblingâ </EM><STRONG>or</STRONG><EM><BR> - The group of clowns are made to begin stumbling as they run.</EM></TD> + âThe group of clowns are made to begin stumbling as they run.â</EM></TD> </TR> </TBODY></TABLE> <FONT color="#FFFFFF"> _______________________________</FONT><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-3-1.mp3">Listen!</A> @@ -1295,13 +1295,13 @@ of knowing the formative's nominal or verbal status.</FONT><BR> new material within an actual or implied discourse. For example, the sentence <EM>My dog jumps through hoops</EM> could function as an answer to several different questions such as 1) <EM>What tricks can your dog do?</EM>, or 2) <EM>Does your - dog do anything with hoops? </EM>or 3) <EM>Do you know of anyones pet - that jumps through hoops?</EM> or even 4) <EM>Whats up with you?</EM> - In answering the first of these questions, jump through hoops + dog do anything with hoops? </EM>or 3) <EM>Do you know of anyoneâs pet + that jumps through hoops?</EM> or even 4) <EM>Whatâs up with you?</EM> + In answering the first of these questions, âjump through hoopsâ would have semantic focus while the dog is background material. In answering - the second question, the verbal phrase jump through would have + the second question, the verbal phrase âjump throughâ would have focus while both the dog and the hoops would be background material. In answering - the third question, it would be my dog that carries the focus + the third question, it would be âmy dogâ that carries the focus while jumping through hoops would be backgrounded. Lastly, in answering the fourth sentence, no element in the sentence has focus over any other, as all elements present previously unknown material within the context of the discourse. @@ -1312,12 +1312,12 @@ of knowing the formative's nominal or verbal status.</FONT><BR> case the background discourse is implied. For example, a person might spontaneously begin a conversation with the same sentence: My dog jumps through hoops. In English, the speaker might use vocal inflection to emphasize what elements convey - semantic focus versus what elements are to be taken by the listener as given. + semantic focus versus what elements are to be taken by the listener as âgiven.â Or, the speaker might say the sentence in a neutral tone of voice, essentially - inviting the listener to choose which elements to focus upon in + inviting the listener to âchooseâ which elements to focus upon in responding, e.g., <EM>Oh, you have a dog?</EM> or <EM>Oh, does he do any other tricks? </EM>or <EM>Oh, do you use metal or plastic hoops?</EM> or an equally - neutral response such as <EM>Oh, you dont say?</EM></P> + neutral response such as <EM>Oh, you donât say?</EM></P> <P align="justify">Ithkuil uses the Focus category to accomplish the same options that such vocal inflections accomplish in English. Any formative or formatives within an Ithkuil sentence can be marked as <FONT size="2">FOCUSED</FONT> to @@ -1344,9 +1344,9 @@ of knowing the formative's nominal or verbal status.</FONT><BR> Mother entered the room and she turned on the lights.</EM></P> </BLOCKQUOTE> <P align="justify">In the first sentence, the absence of the reduplicative pronoun - she before turned implies that the entire sentence + âsheâ before âturnedâ implies that the entire sentence is to considered as one reported event with no particular element having the - focus. In the second sentence, however, the reduplicative she + focus. In the second sentence, however, the reduplicative âsheâ implies the sentence is to viewed as two separate events, the first reported as background, the second having the focus. (For example, one might utter the second sentence as a complaint about the lights being turned on.) The Ithkuil @@ -1354,9 +1354,9 @@ of knowing the formative's nominal or verbal status.</FONT><BR> the nuances of the second sentence would be conveyed by marking the equivalent of the verb form as <FONT size="2">FOCUSED</FONT>.</P> <P align="justify">Finally, Focus functions to disambiguate sentences such as - <EM>Chicago defeated Oakland, too</EM>, which means either (1) Chicago - was one of the teams that defeated Oakland, or (2) Oakland was - one of the teams that Chicago defeated. Ithkuil would mark one team name + <EM>Chicago defeated Oakland, too</EM>, which means either (1) âChicago + was one of the teams that defeated Oakland,â or (2) âOakland was + one of the teams that Chicago defeated.â Ithkuil would mark one team name or the other as <FONT size="2">FOCUSED </FONT>to show which of these two meanings is implied.</P> <P align="justify">The <FONT size="2">UNFOCUSED</FONT> attribute is morpho-phonologically @@ -1367,7 +1367,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <LI>by insertion of a -<STRONG>w</STRONG>- infix within a formative immediately following the <STRONG>C<FONT size="1">1</FONT></STRONG> radical consonant(s), or</LI> - <LI>by addition of the suffix -<STRONG>V<FONT size="1">1</FONT></STRONG> + <LI>by addition of the suffix -<STRONG>V<FONT size="1">1</FONT>â</STRONG> in several of its degrees (see <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13">Sec. 7.7.13</A>)</LI> <LI><A href="ithkuil-ch5a-verbs.htm#Sec5o2">Sec. 5.2</A> and <A href="ithkuil-ch6-moreverbs.htm#Sec6o4o5">Sec. @@ -1405,7 +1405,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> formative. It focuses on those features of a noun or verb which are ontologically objective, i.e., those that exist irrespective of any observers, opinions, interpretations, beliefs or attitudes. Similarly excluded from consideration in the <FONT size="2">EXISTENTIAL</FONT> - is any notion of a nouns use, function, role or benefit. The <FONT size="2">EXISTENTIAL</FONT> + is any notion of a nounâs use, function, role or benefit. The <FONT size="2">EXISTENTIAL</FONT> serves only to point out the mere existence of a noun as a tangible, objective entity under discussion. It is thus used to offer mere identification of a noun or verb. </DIV> @@ -1436,13 +1436,13 @@ of knowing the formative's nominal or verbal status.</FONT><BR> </DIV> <P align="justify">For example, in our previous sentence <EM>A cat ran past the doorway</EM>, if we now place the cat, doorway, and act of running each into - the <FONT size="2">FUNCTIONAL</FONT>, the cat no longer simply + the <FONT size="2">FUNCTIONAL</FONT>, the âcatâ no longer simply identifies a participant, it makes its being a cat (as opposed to say, a dog) significant, e.g., because the speaker may fear cats, or because the cat could get into the room and ruin the furniture, or because cats are associated with - mystery, or because a neighbor has been looking for a lost cat, etc. The doorway + mystery, or because a neighbor has been looking for a lost cat, etc. The âdoorwayâ now conveys its purpose as an entry, reinforcing what the cat may do upon entering. - Likewise, the verb ran in the <FONT size="2">FUNCTIONAL</FONT> + Likewise, the verb âranâ in the <FONT size="2">FUNCTIONAL</FONT> now implies the furtive nature of the cat.</P> <P align="justify"> </P> <TABLE width="45%" border="0" cellpadding="0"> @@ -1460,16 +1460,16 @@ of knowing the formative's nominal or verbal status.</FONT><BR> concept or entity which is abstractly associated with it. For example, the metaphorical connotations of the English sentence <EM>That pinstripe-suited dog is checking out a kitty</EM>, can be equally conveyed in Ithkuil by inflecting the words - for dog and kitty into the <FONT size="2">REPRESENTATIONAL</FONT> + for âdog and âkittyâ into the <FONT size="2">REPRESENTATIONAL</FONT> context. The <FONT size="2">REPRESENTATIONAL</FONT> is one of several ways that Ithkuil overtly renders all metaphorical, symbolic, or metonymic usages (from a grammatical standpoint). </DIV> <P align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">* Metonymy is the use of a word or phrase of one type to refer to an associated word or - phrase of a different type (usually a person), such as place-for-person in The - orders came from <EM>the White House</EM>, object-for-person in Tell - the cook <EM>the ham-and-cheese</EM> wants fries with his order or phrase-for-person - as in <EM>You-know-who</EM> just showed up.<BR> + phrase of a different type (usually a person), such as place-for-person in âThe + orders came from <EM>the White House</EM>,â object-for-person in âTell + the cook <EM>the ham-and-cheese</EM> wants fries with his orderâ or phrase-for-person + as in â<EM>You-know-who</EM> just showed up.â<BR> </FONT><BR> </P> <TABLE width="45%" border="0" cellpadding="0"> @@ -1491,7 +1491,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> within the larger context of the world. Its use indicates the speaker is inviting the hearer to subjectively consider all the subjective wonder, emotional nuances, psychological ramifications and/or philosophical implications associated with - the nouns existence, purpose, or function, as being a world unto itself, + the nounâs existence, purpose, or function, as being a world unto itself, intrinsically interconnected with the wider world beyond it on many levels. Thus the <FONT size="2">AMALGAMATE</FONT> version of our sentence <EM>The cat ran past the doorway</EM> would take on quite melodramatic implications, with @@ -1544,10 +1544,10 @@ of knowing the formative's nominal or verbal status.</FONT><BR> 2.2.3</A></FONT>). The <FONT size="2">FORMAL</FONT> imparts a sense of permanency and/or authority, raising the noun or verb to a more definitive, formal or institutional manifestation of itself, or stressing this authoritative/definitive nature if - the meaning already includes it. For example, stems translatable as symbol, - eat, thought, and a model in the <FONT size="2">INFORMAL</FONT> - would become icon, dine, idea, and - archetype in the <FONT size="2">FORMAL</FONT>.</P> + the meaning already includes it. For example, stems translatable as âsymbol,â + âeat,â âthought,â and âa modelâ in the <FONT size="2">INFORMAL</FONT> + would become âicon,â âdine,â âidea,â and + âarchetypeâ in the <FONT size="2">FORMAL</FONT>.</P> <P align="justify">The <FONT size="2">FORMAL</FONT> achieves several subtle purposes from a lexico-semantic standpoint. While some Ithkuil words would translate the same in English no matter which designation (e.g., <EM>to hurt, to float, @@ -1603,7 +1603,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> </TR> <TR> <TD> </TD> - <TD>natural environment <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM>man-made + <TD>natural environment <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM>âman-madeâ environment</TD> <TD>awareness <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> consciousness</TD> @@ -1661,9 +1661,9 @@ of knowing the formative's nominal or verbal status.</FONT><BR> sentences:</P> <BLOCKQUOTE> <P align="justify"> 1a) <EM>The boy ran off to sea.</EM><BR> - 1b) <EM>The boy who ran off to sea didnt run off to sea.</EM></P> + 1b) <EM>The boy who ran off to sea didnât run off to sea.</EM></P> <P align="justify">2a) <EM>The dog you saw is to be sold tomorrow.</EM><BR> - 2b) <EM>The dog you saw doesnt exist.</EM></P> + 2b) <EM>The dog you saw doesnât exist.</EM></P> </BLOCKQUOTE> <P align="justify">Sentences (1a) and (2a) appear to be straightforward sentences in terms of meaning and interpretation. However, at first blush, sentences @@ -1675,14 +1675,14 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <P align="justify">Why sentences such as (1b) and (2b) can have possible real-world meaning is because they in fact do not make reference to an actual boy or dog, but rather to hypothetical representations of a real-world boy and dog, being - used as references back to those real-world counterparts from within an alternative - mental space created psychologically (and implied linguistically) where + used as references back to those real-world counterparts from within an âalternative + mental spaceâ created psychologically (and implied linguistically) where events can be spoken about that are either unreal, as-yet-unrealized, or alternative versions of what really takes place. This alternative mental space, then, is essentially the psychological realm of both potential and imagination. In Western languages, such an alternative mental space is implied by context or indicated by certain lexical signals. One such group of lexical signals are the so-called - modal verbs of English, e.g., <EM>must, can, should</EM>, etc. + âmodalâ verbs of English, e.g., <EM>must, can, should</EM>, etc. as seen in the following:</P> <BLOCKQUOTE> <P align="justify">3) <EM>You must come home at once.</EM><BR> @@ -1788,7 +1788,7 @@ of knowing the formative's nominal or verbal status.</FONT><BR> <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or +<P align="justify"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P> </P> diff --git a/2004-en-alt/ithkuil-ch4-case-morphology.html b/2004-en-alt/ithkuil-ch4-case-morphology.html index 686f61e..4ab6179 100755..100644 --- a/2004-en-alt/ithkuil-ch4-case-morphology.html +++ b/2004-en-alt/ithkuil-ch4-case-morphology.html @@ -109,18 +109,18 @@ <P align="justify">Anyone who has studied German, Latin, Russian, Classical Greek or Sanskrit, is familiar with the concept of Case. Case generally refers to a morphological scheme in which a noun, whether via internal mutation of its - phonemes or via affixes, shows what grammatical role it plays + phonemes or via affixes, shows what grammatical âroleâ it plays in the phrase or sentence in which it appears. For example, in the English sentence - <EM>It was me she saw</EM>, the use of the word she as opposed - to her and the use of me as opposed to I + <EM>It was me she saw</EM>, the use of the word âsheâ as opposed + to âherâ and the use of âmeâ as opposed to âIâ distinguishes the subject of the sentence (the person seeing) from the object of the verb (the one being seen). Similarly, in the German sentence <EM>Der - Bruder des Knaben sah den Mann</EM> (= The boys brother saw the - man), the words der, des and den - distinguish the subject of the sentence brother (nominative case) - from the possessor boy (genitive case) from the object man + Bruder des Knaben sah den Mann</EM> (= âThe boyâs brother saw the + manâ), the words âderâ, âdesâ and âdenâ + distinguish the subject of the sentence âbrotherâ (nominative case) + from the possessor âboyâ (genitive case) from the object âmanâ (accusative case).</P> -<P align="justify">The concept of case can extend far beyond the +<P align="justify">The concept of âcaseâ can extend far beyond the notions of subject, object and possessor. Depending on the particular language, there may be noun cases which specify the location or position of a noun, whether a noun accompanies another or derives from another or is the recipient of another. @@ -138,7 +138,7 @@ <P align="justify">Note that in regard to gender categories from other languages, Ithkuil has no distinctions of gender (e.g., masculine, feminine, neuter, etc.), although word-roots do fall into one of 17 morpho-semantic classes (see <A href="ithkuil-ch10-lexicosemantics.htm#Sec10o2">Sec. - 10.2</A>). However, there is no agreement or morpho-phonological + 10.2</A>). However, there is no âagreementâ or morpho-phonological concord of any kind between a noun and other words or morphological elements in a sentence, i.e., there is none of the required matching of masculine or feminine or singular/plural agreement between nouns, articles, and adjectives @@ -156,7 +156,7 @@ </DIV> <P align="justify">In most languages, case operates at the surface structure level of language to signify arbitrary grammatical relations such as subject, direct - object, indirect object. The deeper level of semantic role is + object, indirect object. The deeper level of âsemantic roleâ is ignored in terms of morphological designations. The notion of semantic role can be illustrated by the following set of sentences:</P> <BLOCKQUOTE> @@ -165,26 +165,26 @@ (1c) <EM>The wind opened the door.</EM><BR> (1d) <EM>The door opened.</EM></P> </BLOCKQUOTE> -<P align="justify">In each of these sentences case is assigned based on slot, +<P align="justify">In each of these sentences case is assigned based on âslotâ, i.e., the position of the nouns relative to the verb, irrespective of their - semantic roles. Thus the subjects of the sentences are, respectively, + semantic roles. Thus the âsubjectsâ of the sentences are, respectively, <EM>John</EM>, <EM>the key</EM>, <EM>the wind</EM>, and <EM>the door</EM>. Yet it can be seen that, semantically speaking, these four sentences are interrelated in a causal way. Specifically, Sentence (1b) results directly from sentence (1a), and sentence (1d) results directly from either (1b) or (1c). We see that - the case of the noun key in sentence (1a) is prepositional, while + the case of the noun âkeyâ in sentence (1a) is prepositional, while in sentence (1b) it is the subject. Yet, the key plays the same semantic role in both sentences: the physical instrument by which the act of opening is accomplished. - As for the noun door, it is marked as a direct object in the first + As for the noun âdoor,â it is marked as a direct object in the first three sentences and as a subject in the fourth, even though its semantic role in all four sentences never changes, i.e., it is the noun which undergoes a - change in its state as a result of the act of opening. The noun John - in sentence (1a) is marked as a subject, the same case as key - in (1b), the wind in (1c) and the door in (1d), - yet the semantic role of John is entirely different than the role - of key in (1b) and different again from door in + change in its state as a result of the act of opening. The noun âJohnâ + in sentence (1a) is marked as a subject, the same case as âkeyâ + in (1b), the âwindâ in (1c) and the âdoorâ in (1d), + yet the semantic role of âJohnâ is entirely different than the role + of âkeyâ in (1b) and different again from âdoorâ in (1c), i.e., John is acting as the conscious, deliberate initiator of the act - of opening. Finally, the noun wind in (1c), while marked as a + of opening. Finally, the noun âwindâ in (1c), while marked as a subject, operates in yet another semantic role distinct from the subjects of the other sentences, i.e., an inanimate, blind force of nature which, while being the underlying cause of the act of opening, can make no conscious or willed @@ -200,23 +200,23 @@ or primary level of language irrespective of the surface case marking of nouns in other languages. Thus Ithkuil noun declension more accurately reflects the underlying semantic function of nouns in sentences. Consequently, the Western - grammatical notions of subject and object have little + grammatical notions of âsubjectâ and âobjectâ have little meaning or applicability in Ithkuil grammar.</P> <P align="justify">The following semantic roles are marked by noun cases in Ithkuil. - They correspond roughly to the subjects and objects + They correspond roughly to the âsubjectsâ and âobjectsâ of Western languages:</P> <P align="justify"><STRONG>AGENT</STRONG>: The animate, (and usually conscious and deliberate) initiator of an act which results in another noun undergoing - a consequent change in state or behavior, e.g., John in Sentence + a consequent change in state or behavior, e.g., âJohnâ in Sentence (1a) above.</P> <P align="justify"><STRONG>FORCE</STRONG>: An inanimate, unwilled cause of an - act such as a force of nature like wind in Sentence (1c) above.</P> + act such as a force of nature like âwindâ in Sentence (1c) above.</P> <P align="justify"><STRONG>INSTRUMENT</STRONG>: The noun which functions as the - physical means or tool by which an act is initiated or performed, e.g., key + physical means or tool by which an act is initiated or performed, e.g., âkeyâ in Sentences (1a) and (1b) above.</P> <P align="justify"><STRONG>PATIENT</STRONG>: The noun which undergoes a change in state or behavior as a result of an act initiated or caused by itself or - by another noun, e.g., door in all four sentences above.</P> + by another noun, e.g., âdoorâ in all four sentences above.</P> <H3 align="justify"><BR> <A name="Sec4o1o2"></A> 4.1.2 Additional Semantic Roles</H3> <P align="justify">Additional semantic roles corresponding to subjects and objects @@ -243,9 +243,9 @@ an agent who initiates a change in the children (i.e., the fact that they become entertained). But, in fact, the act of entertainment is not one whose result (enjoyment by the audience) can be guaranteed by the party doing the entertaining. - In fact, the result of the act of entertainment is not Marys to determine, - but rather the childrens, based on whether they feel a - sense of enjoyment at experiencing Marys act. And so, Mary is more like + In fact, the result of the act of entertainment is not Maryâs to determine, + but rather the childrenâs, based on whether they âfeelâ a + sense of enjoyment at experiencing Maryâs act. And so, Mary is more like a patient here, not an agent, as she is undergoing a change in her state or behavior (she is performing an attempt to entertain) which she herself has chosen to initiate and undergo, yet the act has the potential to cause a resulting @@ -254,7 +254,7 @@ ENABLER. And how do the children make the decision as to whether they are entertained or not (i.e., what is their semantic role?). Can the children deliberately or consciously choose to feel a sense of enjoyment, or are they not themselves - unwilling patients to their own emotional reactions? In case grammar, + unwilling âpatientsâ to their own emotional reactions? In case grammar, a party such as the children who undergo an unwilled experience are termed EXPERIENCERS. Besides emotional reactions, such unwilled experiences include autonomic sensory perceptions (e.g., parties that see or hear because their eyes were open and @@ -262,44 +262,44 @@ autonomic bodily reactions or responses as well as proprioceptive sensations (e.g., coughing, sneezing, perspiring, feeling hot or cold, feeling pain, etc.).</P> <P align="justify">This notion of EXPERIENCER is likewise illustrated by Sentence - (2c) <EM>Mary sees the children</EM>, in which the verb see denotes + (2c) <EM>Mary sees the children</EM>, in which the verb âseeâ denotes an automatic sensory experience, not a deliberately initiated action. In other words, it is the nature of the sense of sight to function automatically whenever - a person is conscious and his/her eyes are open. The verb see - does not necessarily imply a conscious or deliberately willed action of seeing - (as would be implied by the verb to look [at]). Therefore, the - action is automatic and uninitiated; it is, in fact, not an action + a person is conscious and his/her eyes are open. The verb âseeâ + does not necessarily imply a conscious or deliberately willed action of âseeingâ + (as would be implied by the verb âto look [at]â). Therefore, the + âactionâ is automatic and uninitiated; it is, in fact, not an action at all, but rather an experiential state which the person doing the seeing undergoes. - In other words, the person seeing is actually a kind of patient, + In other words, the person seeing is actually a kind of âpatient,â as it is he/she who undergoes the experience of (and physical or emotional reaction to) the particular sight. Such undergoers of sensory verbs and other unwilled states (e.g., emotional states or reactions, autonomic bodily reactions such as sneezing, physical states of sensation such as being hot or cold, etc.) are - categorized in the role of EXPERIENCERS. And what of the childrens role + categorized in the role of EXPERIENCERS. And what of the childrenâs role in sentence (2c)? Unlike the first three sentences, the children do not undergo - any action. Certainly the process of being seen by Mary does not + any action. Certainly the process of âbeing seenâ by Mary does not in itself cause a physical change or reaction of any kind in the entity being - seen. Nor can the children be analyzed as initiating the act of + seen. Nor can the children be analyzed as âinitiatingâ the act of sight, as they may be completely unaware that Mary is seeing them. As a result, - the childrens semantic role is merely that of STIMULUS, a neutral, unwitting + the childrenâs semantic role is merely that of STIMULUS, a neutral, unwitting originating reason for the experiential state being undergone by the other noun participant.</P> <P align="justify">In Sentence (2d) <EM>Mary tells the children a story</EM>, Mary is a patient who initiates the action which she herself undergoes, the telling of a story. The children do not undergo an unwilled emotional, sensory, or bodily reaction here, but rather are the passive and more or less willing - RECIPIENT of information, the role of an indirect object in Western + RECIPIENT of information, the role of an âindirect objectâ in Western languages. The story, on the other hand, is merely a non-participatory abstract referent, whose role is termed CONTENT.</P> <P align="justify">The role of CONTENT also applies to the children in Sentence - (2e) <EM>Mary wants children</EM>, where they function as the object - of Marys desire. Since no tangible action is occurring, nor are the children - undergoing any result of change of state, nor need they be even aware of Marys + (2e) <EM>Mary wants children</EM>, where they function as the âobjectâ + of Maryâs desire. Since no tangible action is occurring, nor are the children + undergoing any result of change of state, nor need they be even aware of Maryâs desire, they are, like the story in sentence (2d), merely non-participatory - referents. As for Marys role in (2e), the emotional state of desire, + referents. As for Maryâs role in (2e), the emotional state of desire, being unwilled, self-activating, and subjectively internal, creates a situation similar to an automatic sensory perception or autonomic body response; thus, - Marys role is again that of EXPERIENCER.</P> + Maryâs role is again that of EXPERIENCER.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="99%" border="0" cellpadding="0"> @@ -321,8 +321,8 @@ will be shown later in <A href="ithkuil-ch8-adjuncts.htm#Sec8o1">Section 8.1</A>.</P> <P align="justify">We are now in a position to examine the different noun cases - in detail. We will start with the group of cases which correspond to subjects - and objects in Western languages.</P> + in detail. We will start with the group of cases which correspond to âsubjectsâ + and âobjectsâ in Western languages.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="97%" border="0" cellpadding="0"> @@ -333,7 +333,7 @@ </DIV> <P align="justify">The Transrelative cases refer to eleven cases used to identify nouns functioning as participants to a verb, what in Western grammatical terms - would be referred to as subjects and objects and + would be referred to as âsubjectsâ and âobjectsâ and most likely marked as either nominative, accusative, or dative. It is these cases which more or less correspond to the semantic roles identified in <A href="ithkuil-ch4-case.htm#Sec4o1">Sec. 4.1</A> above. The eleven transrelative cases are the <FONT size="2">OBLIQUE, @@ -361,7 +361,7 @@ in translating sentences such as <EM>Sam gave me <STRONG>a book</STRONG>, The child likes <STRONG>cereal</STRONG></EM>. It is also the case associated with existential identification, what in English would be the subject of the verb - to be when referring to the intrinsic identity or static description + âto beâ when referring to the intrinsic identity or static description of a noun as in the English sentences <EM><STRONG>That boy</STRONG> is blind</EM> or <EM><STRONG>The house</STRONG> was built of wood</EM>. The <FONT size="2">OBLIQUE</FONT>, being the semantically most neutral case, is also the citation form of a noun @@ -406,7 +406,7 @@ an act of giving, donation, lending, or other transference of possession, or the hearer to who something is said, told, recounted, etc, as described in <A href="ithkuil-ch4-case.htm#Sec4o1o2">Section 4.1.2</A> above. Secondly, like some Western languages (e.g., Russian), Ithkuil - uses a dative construction in lieu of any verb to have in reference + uses a dative construction in lieu of any verb âto haveâ in reference to possession or attribution. It would therefore be used in translating sentences such as <EM>We're giving <STRONG>you</STRONG> a present, Jason lent a dollar <STRONG>to his sister</STRONG>, Please grant <STRONG>me</STRONG> a wish, <STRONG>The @@ -460,9 +460,9 @@ case, or as an ENABLER using the <FONT size="2">EFFECTUATIVE</FONT> case. The former would mean the clown poured out the blood himself, while the latter would mean he let it drain (i.e., by pulling the plug). Such case distinctions eliminate - the need for Ithkuil to have separate verbs for to drain, to - pour or to empty. The Ithkuil verb used in translating - the sentence would simply mean to remove.</P> + the need for Ithkuil to have separate verbs for âto drain,â âto + pourâ or âto empty.â The Ithkuil verb used in translating + the sentence would simply mean âto remove.â</P> <P align="justify">Note that the EFFECTUATIVE case is commonly used with the affix -<STRONG>V<FONT size="1">1</FONT><FONT color="#FFFFFF" size="1" face="Arial, Helvetica, sans-serif">.</FONT><FONT face="Arial, Helvetica, sans-serif">k<IMG src="assets/s-cedilla.gif" width="8" height="14" align="absbottom"></FONT></STRONG> to show the degree or nature of the enabling cause. With this affix, sentences @@ -512,7 +512,7 @@ experience; autonomic bodily reactions such as yawning, sneezing, coughing, blinking, itching, feeling sleepy, pain, feeling ill, feeling cold or warm; automatic reactions to external stimuli such as shock, flinching, ducking, raising - ones arms to avoid sudden danger; as well as any unwilled emotional state + oneâs arms to avoid sudden danger; as well as any unwilled emotional state such as love, hate, fear, anger, surprise, joy, wistfulness, shyness, regret, anxiety, etc. </P> <P align="justify">Example sentences requiring the use of the <FONT size="2">AFFECTIVE</FONT> @@ -542,18 +542,18 @@ radical consonant. As described previously in <A href="ithkuil-ch4-case.htm#Sec4o1o1">Section 4.1.1</A>, the <FONT size="2">INSTRUMENTAL</FONT> denotes a noun which functions as the INSTRUMENT or means utilized by an AGENT in accomplishing an action or bringing - about a state. It is usually translated by English with. Examples + about a state. It is usually translated by English âwith.â Examples of usage would be <EM>She killed him <STRONG>with a knife</STRONG>, The man tripped over <STRONG>my foot</STRONG>, <STRONG>The password</STRONG> got him inside</EM>. The <FONT size="2">INSTRUMENTAL</FONT> is also used to mark translations - of an inanimate subject noun when its logical function is as the + of an inanimate âsubjectâ noun when its logical function is as the instrument of an unstated agent, e.g., compare <EM>I pressed the button <STRONG>with my finger</STRONG></EM> with <EM><STRONG>My finger</STRONG> pressed the button</EM>, - both of which would be identical in Ithkuil except for the latter sentences + both of which would be identical in Ithkuil except for the latter sentenceâs missing agent, <EM>I</EM>.</P> <P align="justify">Note that the <FONT size="2">INSTRUMENTAL</FONT> does not translate - with in its meaning of along with or accompanied - by (see the <FONT size="2">COMITATIVE</FONT> case below in <A href="ithkuil-ch4-case.htm#Sec4o6o9">Sec. + âwithâ in its meaning of âalong withâ or âaccompanied + byâ (see the <FONT size="2">COMITATIVE</FONT> case below in <A href="ithkuil-ch4-case.htm#Sec4o6o9">Sec. 4.6.9</A>) as in <EM>She arrived with her father</EM>. Nor is it used to show the resources or materials consumed in performing an act. For example, in the sentence <EM>He cooks with tomatoes</EM> (see the <FONT size="2">COMPOSITIVE</FONT> @@ -576,16 +576,16 @@ J vocalic mutation of the stem along with Grade 1 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ACTIVATIVE</FONT> identifies a noun engaged in or subject to a mental or metaphysical state which, as a concurrent result, - creates a hypothetical, unrealized situation which can potentially + creates a hypothetical, âunrealizedâ situation which can potentially be made real by further action. Such unrealized situations can be illustrated by the sentence <EM>Frank must go to Chicago</EM>, in which no actual travel to Chicago has occurred and, in fact, may not occur. Similarly, in the sentence <EM>Mother needs to rest</EM>, no resting has yet occurred and may not. In both - sentences, the event which would fulfill the state described remains + sentences, the event which would âfulfillâ the state described remains an unrealized hypothetical, at least from the perspective of the speaker. Similar hypothetical events or states are found in the sentences <EM>The students want you to sing, Everyone expected you to laugh, or Joe will demand that I stay</EM>. - Note that many of these constructions in English involve the use of modal + Note that many of these constructions in English involve the use of âmodalâ verbs such as <EM>want, need, can, must</EM>, etc. </P> <P align="justify">Notice that the subject of these English sentences (<EM>Frank, Mother, the students, everyone, Joe</EM>) are functioning neither as AGENTS @@ -593,7 +593,7 @@ as-yet actualized events, only states of unrealized potential. These subjects are essentially EXPERIENCERS undergoing a mental or metaphysical state of wanting, needing, obligation, expectation, hoping, wishing, being able to, etc. However, - such experiencers must be differentiated from would-be experiencers within + such experiencers must be differentiated from would-be experiencers âwithinâ the hypothetical situation. For example, in the sentence <EM>Sam wants Shirley to love him</EM>, it could become ambiguous if Sam and Shirley are both marked as EXPERIENCERS using the <FONT size="2">AFFECTIVE</FONT> case. Consequently, @@ -629,11 +629,11 @@ resulting act, event, or state is seen more as having derived from this force or situation, as opposed to being willfully or consciously caused. In this function, a noun in the <FONT size="2">DERIVATIVE</FONT> can often be translated using - phrases such as due to, owing to, on account of, because of, as a result - of. Nouns in the <FONT size="2">DERIVATIVE</FONT> can also appear in + phrases such as âdue to, owing to, on account of, because of, as a result + of.â Nouns in the <FONT size="2">DERIVATIVE</FONT> can also appear in appositive constructions (i.e., in a noun-to-noun conjunction) where the noun in the <FONT size="2">DERIVATIVE</FONT> denotes the abstract cause or reason - for the other noun, e.g., <EM>the danger <STRONG>of fame</STRONG>, <STRONG>loves</STRONG> + for the other noun, e.g., <EM>the danger <STRONG>of fame</STRONG>, <STRONG>loveâs</STRONG> heartache, <STRONG>wind</STRONG> song</EM>.</P> <P align="justify">The second function of the <FONT size="2">DERIVATIVE</FONT> case is to identify the non-agential, unconscious or non-deliberate STIMULUS @@ -710,27 +710,27 @@ relationships expressed by the possessive in the following English sentences: </P> <BLOCKQUOTE> - <P> <EM>the mans hat</EM> = the hat belonging to him [alienable possession]<BR> - <EM>the mans house</EM> = the house he legally owns [proprietary responsibility]<BR> - <EM>the mans arm</EM> = part of his body [inalienable component]<BR> - <EM>the mans brother</EM> = the brother related to him [genetic relationship]<BR> - <EM>the mans happiness</EM> = he feels happy [affective experience]<BR> - <EM>the mans rescue</EM> = he was or will be rescued [target of others + <P> <EM>the manâs hat</EM> = the hat belonging to him [alienable possession]<BR> + <EM>the manâs house</EM> = the house he legally owns [proprietary responsibility]<BR> + <EM>the manâs arm</EM> = part of his body [inalienable component]<BR> + <EM>the manâs brother</EM> = the brother related to him [genetic relationship]<BR> + <EM>the manâs happiness</EM> = he feels happy [affective experience]<BR> + <EM>the manâs rescue</EM> = he was or will be rescued [target of othersâ purpose]<BR> - <EM>the mans gift</EM> = the gift is for him [benefaction]<BR> - <EM>the mans gift</EM> = the gift is from him [source]<BR> - <EM>the mans world</EM> = the world in which he lives [inherent subjective + <EM>the manâs gift</EM> = the gift is for him [benefaction]<BR> + <EM>the manâs gift</EM> = the gift is from him [source]<BR> + <EM>the manâs world</EM> = the world in which he lives [inherent subjective association]<BR> - <EM>the mans team</EM> = the team he is associated with [interactive + <EM>the manâs team</EM> = the team he is associated with [interactive mutual association]<BR> - <EM>the mans story</EM> = the story about him [topical reference]<BR> - <EM>the mans painting</EM> = the picture he painted [creation/authorship]<BR> - <EM>the mans command</EM> = his being a commander [role or function]</P> + <EM>the manâs story</EM> = the story about him [topical reference]<BR> + <EM>the manâs painting</EM> = the picture he painted [creation/authorship]<BR> + <EM>the manâs command</EM> = his being a commander [role or function]</P> </BLOCKQUOTE> <P align="justify">In many instances, the English possessive is totally ambiguous, - e.g., does the mans story mean the one he wrote or the - one about him? Regarding the mans rescue, did the man do - the rescuing or is he the one being rescued? Is the mans gift + e.g., does âthe manâs storyâ mean the one he wrote or the + one about him? Regarding âthe manâs rescue,â did the man do + the rescuing or is he the one being rescued? Is âthe manâs giftâ one he is giving or receiving? Ithkuil is more exact in specifying the nature of these relationships via case. Many of the above relationships are addressed by the seven Associative cases. The other sorts of relationships shown above @@ -768,7 +768,7 @@ separation of the possessor and possessed nouns. The possessive would be used to translate English phrases such as <EM><STRONG>his</STRONG> coat</EM> (e.g., the one he is wearing, regardless of whether he owns it or not), <EM><STRONG>the - boys</STRONG> book</EM> (e.g., the one in his hand), <EM><STRONG>Fathers</STRONG> + boyâs</STRONG> book</EM> (e.g., the one in his hand), <EM><STRONG>Fatherâs</STRONG> chair</EM> (e.g., the one he happens to be sitting in, as in a restaurant). </P> <H3 align="justify"> </H3> @@ -793,8 +793,8 @@ convention, law, process, etc. Using the same English examples used with the <FONT size="2">POSSESSIVE</FONT> above, we can analyze the connotative difference: <EM><STRONG>his</STRONG> coat</EM> (i.e., the one he owns, regardless of whether - he is wearing it or not), <EM><STRONG>the boys</STRONG> book</EM> (e.g., - the one he bought), <EM><STRONG>Fathers</STRONG> chair</EM> (e.g., the + he is wearing it or not), <EM><STRONG>the boyâs</STRONG> book</EM> (e.g., + the one he bought), <EM><STRONG>Fatherâs</STRONG> chair</EM> (e.g., the one assigned to him). </P> <H3 align="justify"> </H3> <DIV align="justify"> @@ -813,8 +813,8 @@ noun which has inalienable (i.e., unremovable, unseverable) possession of or association with another noun in the sense of having that noun as an inherent or intrinsic attribute, characteristic, physical part, or genetic (i.e., familial) - bond, e.g., <EM><STRONG>my</STRONG> hand, <STRONG>the buildings</STRONG> - doors, <STRONG>the childs</STRONG> father, the essence <STRONG>of that + bond, e.g., <EM><STRONG>my</STRONG> hand, <STRONG>the buildingâs</STRONG> + doors, <STRONG>the childâs</STRONG> father, the essence <STRONG>of that woman</STRONG></EM>. </P> <H3 align="justify"> </H3> <DIV align="justify"> @@ -834,9 +834,9 @@ (see the <FONT size="2">AFFECTIVE</FONT> case above) relationship with another noun, either as a temporary or permanent attribute, characteristic, or experience, whether physical or psychological, objective or subjective in nature. Examples: - <EM><STRONG>his</STRONG> pain, <STRONG>Mothers</STRONG> guilt, <STRONG>the - childs</STRONG> cough, <STRONG>Dorothys</STRONG> mood, <STRONG>Daveys</STRONG> - happiness, <STRONG>the teachers</STRONG> stubbornness, <STRONG>my</STRONG> + <EM><STRONG>his</STRONG> pain, <STRONG>Motherâs</STRONG> guilt, <STRONG>the + childâs</STRONG> cough, <STRONG>Dorothyâs</STRONG> mood, <STRONG>Daveyâs</STRONG> + happiness, <STRONG>the teacherâs</STRONG> stubbornness, <STRONG>my</STRONG> needs</EM>. </P> <H3 align="justify"> </H3> <DIV align="justify"> @@ -852,7 +852,7 @@ <P align="justify">The <FONT size="2">ORIGINATIVE</FONT> case is marked by Series E vocalic mutation of the stem along with Grade 2 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ORIGINATIVE</FONT> identifies a noun as - being the literal or figurative source of another, e.g., <EM><STRONG>the mans</STRONG> + being the literal or figurative source of another, e.g., <EM><STRONG>the manâs</STRONG> story</EM> (i.e., the one he told), <EM><STRONG>our</STRONG> gift</EM> (i.e., the one we are giving), <EM>water <STRONG>from the river</STRONG>, the fruit <STRONG>of the tree</STRONG></EM>. </P> @@ -870,8 +870,8 @@ <P align="justify">The <FONT size="2">PRODUCTIVE</FONT> case is marked by Series F vocalic mutation of the stem along with Grade 2 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">PRODUCTIVE</FONT> identifies the creator, - author or originator of another noun, e.g.,<EM> <STRONG>the girls</STRONG> - poem, <STRONG>the clowns </STRONG>plan, <STRONG>my</STRONG> statue</EM> + author or originator of another noun, e.g.,<EM> <STRONG>the girlâs</STRONG> + poem, <STRONG>the clownsâ </STRONG>plan, <STRONG>my</STRONG> statue</EM> (i.e., the one I sculpted). </P> <H3 align="justify"> </H3> <DIV align="justify"> @@ -889,7 +889,7 @@ radical consonant. The <FONT size="2">INTERPRETATIVE</FONT> identifies a noun acting as the subjective interpretational context of another noun, that is the noun by or through which another noun is subjectively interpreted or described, - as exemplified by the phrases <EM><STRONG>Monets</STRONG> Paris</EM>, + as exemplified by the phrases <EM><STRONG>Monetâs</STRONG> Paris</EM>, <EM><STRONG>our</STRONG> world, life <STRONG>as seen by children</STRONG></EM>. </P> <H3 align="justify"><BR> @@ -913,7 +913,7 @@ noun. Most of these cases correspond to relationships in which, in English translation, we find two nouns together in apposition or as a compound noun, as in <EM>cat box, schoolbook, peace march, mountain man,</EM> etc., or joined by the word - of in a non-possessive relationship, e.g., <EM>box of coins, dreams + âofâ in a non-possessive relationship, e.g., <EM>box of coins, dreams of youth, sounds of laughter</EM>. The eleven Appositive cases are the <FONT size="2">APPLICATIVE, PURPOSIVE, INHERENT, CONDUCTIVE, MEDIATIVE, CONTRASTIVE, PARTITIVE, COMPOSITIVE, CORRELATIVE, INTERDEPENDENT,</FONT> and <FONT size="2">PREDICATIVE</FONT>. Following @@ -934,14 +934,14 @@ A vocalic mutation of the stem along with Grade 3 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">APPLICATIVE</FONT> identifies a noun which represents the purpose for which another noun is to be utilized in a given instance. - As such, it usually translates English for when meaning for - the temporary or incidental use/purpose of. Examples of usage would be + As such, it usually translates English âforâ when meaning âfor + the temporary or incidental use/purpose of.â Examples of usage would be <EM>a cup for coffee</EM> (i.e., a cup being used incidentally to hold coffee), <EM>a box for tools</EM> (i.e., the box is only temporarily being used to hold tools), <EM>a room for changing.</EM> Note that the use of the <FONT size="2">APPLICATIVE</FONT> - can extend to usages beyond English for, as in <EM>a weapon - cat</EM> = a cat used as a weapon, or <EM>a projectile - book</EM> = a book used as a projectile. </P> + can extend to usages beyond English âfor,â as in <EM>a âweaponâ + cat</EM> = âa cat used as a weapon,â or <EM>a âprojectileâ + book</EM> = âa book used as a projectile.â </P> <H3 align="justify"> </H3> <DIV align="justify"> <TABLE width="59%" border="0" cellpadding="0"> @@ -960,10 +960,10 @@ is subtly distinct from the <FONT size="2">APPLICATIVE</FONT> above, in that the latter names the actual use to which a noun is put on a given occasion or in given context, whereas the <FONT size="2">PURPOSIVE</FONT> defines another - nouns general function or primary reason for being, outside of any contextual + nounâs general function or primary reason for being, outside of any contextual instance, i.e., what the noun is used for all the time (or at least its intended - use). It generally translates English as, of or - for when meaning for the purpose of or alternately + use). It generally translates English âas,â âofâ or + âforâ when meaning âfor the purpose ofâ or alternately an English noun-noun expression or a compound noun. Examples of usage would be <EM>a <STRONG>coffee</STRONG> cup, a <STRONG>tool</STRONG>box, a <STRONG>litter</STRONG> box, a <STRONG>trash</STRONG>can. </EM></P> @@ -998,16 +998,16 @@ inflected for a concrete perspective, i.e., either the <FONT size="2">MONADIC</FONT> or the <FONT size="2">UNBOUNDED</FONT>, then it takes on the rather different function of stating the actual existential identity (literally or figuratively) - of the other noun and would be equivalent to the English construction that/which/who - is (a/the)
as in <EM>the man who is president, the woman who is + of the other noun and would be equivalent to the English construction âthat/which/who + is (a/the)âŚâ as in <EM>the man who is president, the woman who is my wife, the house that is a model, a machine that is a vehicle, the teacher who is her father, those trees that are larches</EM>. Through use of the <FONT size="2">INHERENT</FONT> case and the <FONT size="2">MONADIC</FONT>/<FONT size="2">UNBOUNDED</FONT> perspectives, these phrases would be rendered into Ithkuil phrases that would correspond literally - to the sometimes awkward, even semantically anomalous English phrases <EM>the - president man, the my-wife woman, the model house, - the vehicle machine, the her-father teacher, the - larch trees.</EM></P> + to the sometimes awkward, even semantically anomalous English phrases <EM>âthe + president man,â âthe my-wife woman,â âthe model house,â + âthe vehicle machine,â âthe her-father teacher,â âthe + larch trees.â</EM></P> <H3 align="justify"> </H3> <DIV align="justify"> <TABLE width="57%" border="0" cellpadding="0"> @@ -1023,12 +1023,12 @@ D vocalic mutation of the stem along with Grade 3 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">CONDUCTIVE</FONT> identifies the meaningful or relevant context of another. It can be thought of as conveying the relationship - signified by the expressions having to do with, as it pertains - to, or considered within the context of. Examples of English + signified by the expressions âhaving to do with,â âas it pertains + to,â or âconsidered within the context of.â Examples of English phrases translatable using this case are <EM>a <STRONG>circus</STRONG> clown, a <STRONG>mountain</STRONG> man, a feeling <STRONG>of loneliness</STRONG>, the - <STRONG>Mafias</STRONG> world, a realm <STRONG>of fear</STRONG>, my<STRONG> - life</STRONG> achievement, <STRONG>childhood</STRONG> memories, Lets + <STRONG>Mafiaâs</STRONG> world, a realm <STRONG>of fear</STRONG>, my<STRONG> + life</STRONG> achievement, <STRONG>childhood</STRONG> memories, Letâs discuss the morality<STRONG> of war</STRONG></EM>. </P> <H3 align="justify"> </H3> <DIV align="justify"> @@ -1053,9 +1053,9 @@ which signifies the actual instrument or physical means used to accomplish a causative action. For example, in the sentence <EM>Call him on the phone!</EM>, translating the phrase <EM>on the phone</EM> into the <FONT size="2">INSTRUMENTAL</FONT> - case would signify Use the phone (i.e., the one in the room) to call - him, whereas inflection into the <FONT size="2">MEDIATIVE</FONT> case - would mean Call him via the medium of telephony. </P> + case would signify âUse the phone (i.e., the one in the room) to call + him,â whereas inflection into the <FONT size="2">MEDIATIVE</FONT> case + would mean âCall him via the medium of telephony.â </P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="55%" border="0" cellpadding="0"> @@ -1076,7 +1076,7 @@ to the blue one); <EM>the <STRONG>science</STRONG> text</EM> (e.g., versus the religious text); <EM><STRONG>my</STRONG> statue</EM> (i.e., a statue of me); <EM>I want your recipe <STRONG>for stew</STRONG>, not <STRONG>soup</STRONG>; - Dont worry, its a <STRONG>pet</STRONG> snake</EM>.</P> + Donât worry, itâs a <STRONG>pet</STRONG> snake</EM>.</P> <H3 align="justify"> </H3> <DIV align="justify"> <TABLE width="57%" border="0" cellpadding="0"> @@ -1104,8 +1104,8 @@ 12</A></FONT>, where we will see that, in Ithkuil, numbers are formatives (i.e., full nouns and verbs), not adjectives as in Western languages. Additionally, a noun qualified by a number is not pluralized. In other words, one does not - say three boxes, but rather a trio of a box or perhaps - more eloquently, a box trio. </P> + say âthree boxes,â but rather âa trio of a boxâ or perhaps + more eloquently, âa box trio.â </P> <P align="justify">The <FONT size="2">PARTITIVE</FONT> case is also used in constructing words for Ithkuil numbers beginning with two hundred. This is also detailed in <FONT color="#FF0000"><A href="ithkuil-ch12-numbers.html">Chapter @@ -1151,9 +1151,9 @@ J vocalic mutation of the stem along with Grade 3 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">CORRELATIVE</FONT> is used to indicate an abstract relationship, association, or conjunction between a noun and another - noun or verb. It translates general phrases such as relative to, - in relation to, in correlation with, in association - with, etc. It would be used in translating phrases such as <EM><STRONG>career</STRONG> + noun or verb. It translates general phrases such as ârelative to,â + âin relation to,â âin correlation with,â âin association + with,â etc. It would be used in translating phrases such as <EM><STRONG>career</STRONG> goals, the soup o<STRONG>f the day</STRONG>, the direction o<STRONG>f that road</STRONG>, The elapsed time <STRONG>relative to the distance </STRONG>determines the winner, Our next topic is sex <STRONG>and (</STRONG></EM>or<EM><STRONG> in) art</STRONG></EM> @@ -1178,12 +1178,12 @@ which has a coordinated, tandem, complementary or mutually dependent relationship with another. The relationship between the two nouns can be thought of as reciprocal in nature, i.e., each noun implies the other or needs the other to exist within - its natural context, e.g., <EM>the<STRONG> students</STRONG> teacher, + itâs natural context, e.g., <EM>the<STRONG> students</STRONG>â teacher, an <STRONG>army</STRONG> general, the blood <STRONG>in my veins</STRONG>, the - driver <STRONG>of the truck</STRONG>, the nations leader, <STRONG>his</STRONG> - team</EM> (i.e., the one on which hes a member). Note that this case + driver <STRONG>of the truck</STRONG>, the nationâs leader, <STRONG>his</STRONG> + team</EM> (i.e., the one on which heâs a member). Note that this case does not imply a part-whole dependency as with the <FONT size="2">GENITIVE</FONT> - case above, e.g., it would not be used to translate <EM>the books pages</EM>, + case above, e.g., it would not be used to translate <EM>the bookâs pages</EM>, or <EM>the leaves of a tree</EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1201,16 +1201,16 @@ radical consonant. The <FONT size="2">PREDICATIVE</FONT> identifies a noun which constitutes the non-causal basis, foundation, sustenance (literally or figuratively), or required existential condition for another noun or clause, translatable by - the phrases based (up)on, dependent (up)on or relying - on. Examples of use are <EM>a book <STRONG>dependent on a publisher</STRONG>, + the phrases âbased (up)on,â âdependent (up)onâ or ârelying + on.â Examples of use are <EM>a book <STRONG>dependent on a publisher</STRONG>, a man <STRONG>relying on charity</STRONG>, laws <STRONG>based in reason</STRONG>, Can success <STRONG>supported by murder</STRONG> be sustained?</EM></P> <P align="justify">The <FONT size="2">PREDICATIVE</FONT> should be distinguished from Transrelative cases such as the <FONT size="2">DERIVATIVE</FONT> or <FONT size="2">INSTRUMENTAL</FONT>, in that the <FONT size="2">PREDICATIVE</FONT> does not denote a cause, merely the sustaining entity on which another depends, e.g., it would not be used to - translate <EM>anxiety based on terror</EM>, as the anxiety does not rely - or depend on terror, but rather is caused by it. Similarly, in + translate <EM>anxiety based on terror</EM>, as the anxiety does not ârelyâ + or âdependâ on terror, but rather is caused by it. Similarly, in the phrase <EM>an attitude fueled by greed</EM>, the attitude derives from or results from greed, but is not relying on it.</P> <H3 align="justify"><BR> @@ -1247,7 +1247,7 @@ <P align="justify">The <FONT size="2">ESSIVE</FONT> case is marked by Series A vocalic mutation of the stem along with Grade 4 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ESSIVE</FONT> identifies the role or name - by which a noun is known or contextually identified. It translates English as + by which a noun is known or contextually identified. It translates English âasâ in the sense of naming or reference to the a nouns functional identity. It would be used in translating the English sentences <EM>They called him <STRONG>a clown</STRONG>, The woman entered the club <STRONG>as an equal</STRONG> of any man, We consider @@ -1267,7 +1267,7 @@ B vocalic mutation of the stem along with Grade 4 mutation of the C2 radical consonant. The <FONT size="2">ASSIMILATIVE</FONT> identifies a noun used as a context for analogy or metaphorical comparison to either another noun or a - verb. Thus, it translates English like or as in + verb. Thus, it translates English âlikeâ or âasâ in the sense of comparison or analogy between one thing and another. Examples of usage are <EM>She sings <STRONG>like a bird</STRONG>, <STRONG>As children </STRONG>they seemed to me</EM>.</P> @@ -1288,7 +1288,7 @@ or the adverbial use of <EM>with</EM>, identifying the manner in which an action, event, or state occurs or exists. More exactly, it identifies a noun used to characterize the manner of the act, state, or event, translatable most accurately - by the phrase in a manner characterized by
. Examples would + by the phrase âin a manner characterized byâŚ.â Examples would be: <EM>She dances <STRONG>gracefully</STRONG> </EM>(i.e., in a manner characterized by grace),<EM> The boys ate <STRONG>with gusto</STRONG>, That clown is speaking <STRONG>nonsense</STRONG>, Father speaks <STRONG>with such fortitude</STRONG></EM>.</P> @@ -1306,8 +1306,8 @@ <P align="justify">The <FONT size="2">TRANSFORMATIVE</FONT> case is marked by Series D vocalic mutation of the stem along with Grade 4 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">TRANSFORMATIVE</FONT> identifies the outcome - or final state of a process, often translatable by to, until, - or into in the sense of reaching a final state after having undergone + or final state of a process, often translatable by âto,â âuntil,â + or âintoâ in the sense of reaching a final state after having undergone some transformation. Example usages would be <EM>The house burned <STRONG>to ashes</STRONG>, The clown reached a state <STRONG>of tranquility</STRONG>, The clowns will turn our children <STRONG>into slaves</STRONG>, Her father drank @@ -1326,11 +1326,11 @@ <P align="justify">The <FONT size="2">REFERENTIAL</FONT> case is marked by Series E vocalic mutation of the stem along with Grade 4 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">REFERENTIAL</FONT> identifies a noun functioning - as the general referent of the verb, translating such English terms as about, - regarding, concerning, in regard to, - in reference to, pertaining to, or as for. + as the general referent of the verb, translating such English terms as âabout,â + âregarding,â âconcerning,â âin regard to,â + âin reference to,â âpertaining to,â or âas for.â Examples of use would be <EM>a song <STRONG>of love</STRONG>; <STRONG>As for - those books</STRONG>, burn them!; Lets talk <STRONG>about clowns</STRONG>; + those books</STRONG>, burn them!; Letâs talk <STRONG>about clowns</STRONG>; His attitude <STRONG>toward women</STRONG></EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1347,10 +1347,10 @@ F vocalic mutation of the stem along with Grade 4 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">CONSIDERATIVE</FONT> identifies a noun as the delimiting or defining context in which an act, state or event occurs - or is considered. Thus, it translates English terms such as according - to, pursuant to, as per, in the opinion - of. Examples of usage would be <EM><STRONG>In my opinion</STRONG> hes - a coward; Hes leaving town <STRONG>as per orders</STRONG> from the court; + or is considered. Thus, it translates English terms such as âaccording + to,â âpursuant to,â âas per,â âin the opinion + of.â Examples of usage would be <EM><STRONG>In my opinion</STRONG> heâs + a coward; Heâs leaving town <STRONG>as per orders</STRONG> from the court; You were arrested <STRONG>pursuant to law</STRONG>; <STRONG>According to our teacher</STRONG>, humans are descended from apes</EM>.</P> <P align="justify"> </P> @@ -1378,7 +1378,7 @@ periods, but can be used with any concrete noun to describe the repetitive nature of an event. Examples would be <EM><STRONG>Month by month</STRONG>, their departure crept closer; <STRONG>Year after year</STRONG>, I see more and more clowns; - <STRONG>Day in</STRONG>,<STRONG> day out</STRONG>, hes always working; + <STRONG>Day in</STRONG>,<STRONG> day out</STRONG>, heâs always working; The fertilizer factory keeps rolling them out, <STRONG>bag upon bag</STRONG>; <STRONG>Patient by patient</STRONG>, the nurse administered injections</EM>.</P> <P align="justify">Note that the <FONT size="2">CLASSIFICATIVE</FONT> would not @@ -1401,8 +1401,8 @@ <P align="justify">The <FONT size="2">DEFERENTIAL</FONT> case is marked by Series H vocalic mutation of the stem along with Grade 4 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">DEFERENTIAL</FONT> translates the English - phrases out of respect for, for the sake of, or - in deference toward, identifying the noun to which deference is + phrases âout of respect for,â âfor the sake of,â or + âin deference toward,â identifying the noun to which deference is paid within the context for an act, condition, or event. Examples of usage would be <EM>He remained silent <STRONG>for her sake</STRONG>, They went on with the ceremony <STRONG>out of respect for the families</STRONG>, They dressed in robes @@ -1421,9 +1421,9 @@ <P align="justify">The <FONT size="2">COMITATIVE</FONT> case is marked by Series A vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. Similar to its counterpart in Uralic languages such as Finnish - or Estonian, the <FONT size="2">COMITATIVE</FONT> translates the English with - in its meaning of accompaniment (i.e., along with) as in <EM>The - child went <STRONG>with the clown </STRONG>to the party</EM>. Like English with, + or Estonian, the <FONT size="2">COMITATIVE</FONT> translates the English âwithâ + in its meaning of accompaniment (i.e., âalong withâ) as in <EM>The + child went <STRONG>with the clown </STRONG>to the party</EM>. Like English âwith,â the <FONT size="2">COMITATIVE</FONT> does not imply that the conjoined noun is necessarily engaged in the same activity or associated with the same verb as the head noun. For example, in the sentence <EM>My father was walking with @@ -1441,8 +1441,8 @@ him during the war) versus <EM>This man fought with my father</EM> (e.g., they had a fight with each other).</P> <P align="justify">Note also that the <FONT size="2">COMITATIVE</FONT> is not - used to indicate instrumentality (English with meaning by - means of). Thus, it is not used to translate sentences such as <EM>I + used to indicate instrumentality (English âwithâ meaning âby + means ofâ). Thus, it is not used to translate sentences such as <EM>I cut the meat with a knife</EM>. As previously discussed in <A href="ithkuil-ch4-case.htm#Sec4o3o8">Section 4.3.8</A>, instrumentality is indicated by use of the <FONT size="2">INSTRUMENTAL</FONT> case. Likewise, it is not used to identify the resources or material(s) consumed @@ -1462,17 +1462,17 @@ <P align="justify">The <FONT size="2">CONJUNCTIVE</FONT> case is marked by Series B vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">CONJUNCTIVE</FONT> translates English - with in its meaning of in conjunction with, i.e., + âwithâ in its meaning of âin conjunction with,â i.e., to indicate that the noun is engaged in the same activity or a complementary activity as the conjoined noun. It should be distinguished from the <FONT size="2">COMITATIVE</FONT> above, which indicates mere accompaniment. For example, in the <EM>walking with a loaf of bread</EM> example from above, it would be incorrect to use the <FONT size="2">CONJUNCTIVE</FONT> case because that would signify the bread was walking, too. To further illustrate - the usage, consider the sentence <EM>Im with the brigade</EM>. Translating - brigade using the <FONT size="2">COMITATIVE</FONT> would mean - that Ive come along (e.g., drove) with the brigade to the scene, - while using the <FONT size="2">CONJUNCTIVE</FONT> would mean Im - a member of the brigade. Additional examples where the <FONT size="2">CONJUNCTIVE</FONT> + the usage, consider the sentence <EM>Iâm with the brigade</EM>. Translating + âbrigadeâ using the <FONT size="2">COMITATIVE</FONT> would mean + that âIâve come along (e.g., drove) with the brigade to the scene,â + while using the <FONT size="2">CONJUNCTIVE</FONT> would mean âIâm + a member of the brigade.â Additional examples where the <FONT size="2">CONJUNCTIVE</FONT> would be used are <EM>They skate with the best team, That teacher works well with children</EM>.</P> <P align="justify"> </P> @@ -1489,7 +1489,7 @@ <P align="justify">The <FONT size="2">UTILITATIVE</FONT> case is marked by Series C vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">UTILITATIVE</FONT> identifies a noun in - the process of being utilized. This corresponds to the use of English with + the process of being utilized. This corresponds to the use of English âwithâ where it refers to actual use in progress as in <EM>A man <STRONG>with a gun</STRONG> ran into the room</EM>. It should be distinguished from the <FONT size="2">INSTRUMENTAL</FONT> (see <A href="ithkuil-ch4-case.htm#Sec4o3o8">Sec. 4.3.8</A>) in that the latter indicates the implement @@ -1532,9 +1532,9 @@ implies a strong emphasis on the fact that the noun is more than simply the recipient or target of a dative action, but rather benefits in a tangible or consequential way from the action or event. It is usually translated by English - for in the sense of for the sake (i.e., benefit) of. + âforâ in the sense of âfor the sake (i.e., benefit) of.â Examples of usage are <EM>a toy <STRONG>for the children</STRONG>, We threw - <STRONG>him</STRONG> a party, Go to</EM> <EM>the <STRONG>teachers</STRONG> + <STRONG>him</STRONG> a party, Go to</EM> <EM>the <STRONG>teachers</STRONG>â lounge</EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1550,11 +1550,11 @@ <P align="justify">The <FONT size="2">TRANSPOSITIVE</FONT> case is marked by Series E vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">TRANSPOSITIVE</FONT> implies substitution - of one noun for another. It translates English for in the sense - of on behalf of, in place of, or instead - of (i.e., as a substitution for). Examples of usage are + of one noun for another. It translates English âforâ in the sense + of âon behalf of,â âin place of,â or âinstead + ofâ (i.e., âas a substitution forâ). Examples of usage are <EM>The boss made the speech <STRONG>for me</STRONG>, She went up into the attic - <STRONG>for her brother</STRONG></EM> (i.e., so he wouldnt have to).</P> + <STRONG>for her brother</STRONG></EM> (i.e., so he wouldnât have to).</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="60%" border="0" cellpadding="0"> @@ -1569,7 +1569,7 @@ <P align="justify">The <FONT size="2">COMMUTATIVE</FONT> case is marked by Series F vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">COMMUTATIVE</FONT> translates English - for in the sense of in exchange for as in <EM>You + âforâ in the sense of âin exchange forâ as in <EM>You paid too much money <STRONG>for that dress</STRONG>, She kills <STRONG>for thrills</STRONG></EM>.</P> <H3 align="justify"><BR> 4.6.15 Examples of Adverbial Cases in Use<A name="Sec4o6o15"></A><BR> @@ -1587,7 +1587,7 @@ <P align="justify">The Subrelative cases comprise eleven cases which place a noun in a subordinate context to the main sentence, much like subordinate conjunctions in Western languages. In fact, these cases are used far more frequently with - verbal clauses than with nouns, creating what are known as case-frames + verbal clauses than with nouns, creating what are known as âcase-framesâ (to be discussed in <A href="Ch-5%20Verbs%20Contd.htm#Sec5o7">Sec. 5.7</A>), the Ithkuil functional equivalent to Western subordinate clauses. The eleven Subrelative cases are the <FONT size="2">ABESSIVE, CONVERSIVE, CONCESSIVE, EXCEPTIVE, @@ -1609,13 +1609,13 @@ <P align="justify">The <FONT size="2">ABESSIVE</FONT> case is marked by Series A vocalic mutation of the stem along with Grade 5 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ABESSIVE</FONT> is essentially the opposite - of the <FONT size="2">COMITATIVE</FONT>, translating the English without - or -less in the sense of unaccompanied by or not - having as in <EM>a day <STRONG>without rain</STRONG></EM> or <EM>a <STRONG>treeless</STRONG> + of the <FONT size="2">COMITATIVE</FONT>, translating the English âwithoutâ + or â-lessâ in the sense of âunaccompanied byâ or ânot + havingâ as in <EM>a day <STRONG>without rain</STRONG></EM> or <EM>a <STRONG>treeless</STRONG> plain</EM>. As noted in the next section below on the <FONT size="2">CONVERSIVE</FONT> - case, it is <STRONG>not</STRONG> used to translate without when - it means unless one has, referring to a hypothetical exception - to a potential outcome as in <EM>I cant go on without love</EM>.</P> + case, it is <STRONG>not</STRONG> used to translate âwithoutâ when + it means âunless one has,â referring to a hypothetical exception + to a potential outcome as in <EM>I canât go on without love</EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="53%" border="0" cellpadding="0"> @@ -1634,12 +1634,12 @@ to a potential outcome or an actual circumstance which alters or has altered a potential outcome. This translates two different ways into English. Where it indicates an exception to a hypothetical situation, it is translated by the - conjunction unless in verbal contexts, and by the preposition - without for nouns (note that without in this sense + conjunction âunlessâ in verbal contexts, and by the preposition + âwithoutâ for nouns (note that âwithoutâ in this sense does not correspond to its usual <FONT size="2">ABESSIVE</FONT> usage in Sec. 4.7.1 above). If applied to a real or actual situation, it is translatable by - such expressions as but for, if not for, if - it wasnt for, or if it wasnt on account of. + such expressions as âbut for,â âif not for,â âif + it wasnât for,â or âif it wasnât on account of.â Example of usage: <EM><STRONG>Without peace</STRONG>, this society is doomed; <STRONG>If not for the rain</STRONG>, we would have had a good time</EM>.</P> <P align="justify"> </P> @@ -1658,9 +1658,9 @@ radical consonant. The <FONT size="2">CONCESSIVE</FONT> case identifies a noun, situation, or circumstance which gives rise to an expectation of a certain result which, in fact, does not occur. This can be translated by various English prepositions, - conjunctions, or phrases such as despite, in spite of, - notwithstanding, although, regardless of, - no matter what, etc. Examples of usage: <EM><STRONG>In spite of + conjunctions, or phrases such as âdespite,â âin spite of,â + ânotwithstanding,â âalthough,â âregardless of,â + âno matter what,â etc. Examples of usage: <EM><STRONG>In spite of his stupidity</STRONG>, he passed the test; <STRONG>The law notwithstanding</STRONG>, I will stand my ground; <STRONG>No matter how ignorant</STRONG> (they may be), they are welcome, <STRONG>Although foreigners</STRONG>, we will let them attend @@ -1680,8 +1680,8 @@ D vocalic mutation of the stem along with Grade 5 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">EXCEPTIVE</FONT> indicates a noun, situation, or circumstance which is an exception, or is exempted or excluded from the main - clause, translatable by English except (for), but (not), - or excluding. Examples of usage: <EM>She loves everybody <STRONG>except + clause, translatable by English âexcept (for),â âbut (not),â + or âexcluding.â Examples of usage: <EM>She loves everybody <STRONG>except clowns</STRONG>; I like all animals, <STRONG>excluding dogs</STRONG>; He eats almost anything <STRONG>but (not) spinach</STRONG></EM>.</P> <P align="justify"> </P> @@ -1701,7 +1701,7 @@ has been replaced by another or for which another noun has been substituted. In verbal frame adjuncts it identifies the situation which had been expected in contrast to what actually takes place. This is translatable by the English - phrases instead of or as opposed to, e.g.,<EM> <STRONG>Instead + phrases âinstead ofâ or âas opposed to,â e.g.,<EM> <STRONG>Instead of rain</STRONG>, it snowed; They hired her as a cook, <STRONG>as opposed to a maid</STRONG></EM>.</P> <P align="justify"> </P> @@ -1720,9 +1720,9 @@ radical consonant. The identifies the noun, situation, or circumstance on which the factuality of the main clause of the sentence depends, i.e., the required condition(s) which must come into existence for the situation described in the - main clause to occur. This is translatable by such English phrases as provided - (that), on condition of, only in case of, - or but only if, e.g., <EM><STRONG>Provided [theres] food</STRONG>, + main clause to occur. This is translatable by such English phrases as âprovided + (that),â âon condition of,â âonly in case of,â + or âbut only if,â e.g., <EM><STRONG>Provided [thereâs] food</STRONG>, I will attend the meeting; We will fight <STRONG>only in case of war</STRONG></EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1743,14 +1743,14 @@ and the circumstances of the main clause. Specifically, it identifies the noun, situation, or circumstance whose factuality has not yet come into existence, but, should it come into existence, will result in the consequence indicated - by the main clause. This is translatable by English if, or in - case of. Note that it does not translate English if where - it means whether as in <EM>I dont know if its warm + by the main clause. This is translatable by English âif,â or âin + case of.â Note that it does not translate English âifâ where + it means âwhetherâ as in <EM>I donât know if itâs warm enough</EM>, i.e., where the clause is meant only to convey uncertainty or optionality (but not a causal relationship between a potential condition and its consequences). - Examples of usage: <EM><STRONG>If [theres] snow</STRONG>, Im not + Examples of usage: <EM><STRONG>If [thereâs] snow</STRONG>, Iâm not going out; <STRONG>In case of fire</STRONG>, flee; <STRONG>If friend</STRONG>, - welcome them, if foe, kill em</EM>.</P> + welcome them, if foe, kill âem</EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="53%" border="0" cellpadding="0"> @@ -1777,16 +1777,16 @@ There is no equivalent English construction which expresses this distinction. The following sentences represent approximate English translations of what would be identical Ithkuil sentences except for the three different case declensions - of the word for weather:</P> -<P align="justify"><FONT size="2">PROVISIONAL</FONT>: <EM>Were packing + of the word for âweatherâ:</P> +<P align="justify"><FONT size="2">PROVISIONAL</FONT>: <EM>Weâre packing umbrellas, <STRONG>but only in case of bad weather</STRONG></EM> (i.e., umbrellas will not be packed unless the weather is actually bad).<BR> - <FONT size="2">POSTULATIVE</FONT>: <EM>Were packing umbrellas <STRONG>in + <FONT size="2">POSTULATIVE</FONT>: <EM>Weâre packing umbrellas <STRONG>in case of bad weather</STRONG></EM> (i.e., the umbrellas are being packed in preparation for the possibility of bad weather).<BR> - <FONT size="2">SUPPOSITIVE</FONT>: <EM>Were packing umbrellas <STRONG>supposing - [theres] bad weather</STRONG></EM> (i.e., the umbrellas are being packed - even though we dont know how the weather will be).</P> + <FONT size="2">SUPPOSITIVE</FONT>: <EM>Weâre packing umbrellas <STRONG>supposing + [thereâs] bad weather</STRONG></EM> (i.e., the umbrellas are being packed + even though we donât know how the weather will be).</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="54%" border="0" cellpadding="0"> @@ -1801,9 +1801,9 @@ <P align="justify">The <FONT size="2">DEPENDENT</FONT> case is marked by Series G vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">DEPENDENT</FONT> translates the English - phrase depending on signifying a noun as the contingency on which + phrase âdepending onâ signifying a noun as the contingency on which the reality of a main clause depends. Examples of usage would be <EM><STRONG>Depending - on the rain</STRONG>, well go for a picnic; She may show up, <STRONG>depending + on the rain</STRONG>, weâll go for a picnic; She may show up, <STRONG>depending on her attitude</STRONG></EM>.</P> <P align="justify">The <FONT size="2">DEPENDENT</FONT> should be distinguished from the <FONT size="2">PREDICATIVE</FONT> case in <A href="ithkuil-ch4-case.htm#Sec4o5o11">Sec. @@ -1823,10 +1823,10 @@ <P align="justify">The <FONT size="2">COMPARATIVE</FONT> case is marked by Series H vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">COMPARATIVE</FONT> identifies a noun being - compared and contrasted to another. It translates such expressions as as - compared to, as opposed to. With verbal case-frames (see + compared and contrasted to another. It translates such expressions as âas + compared to,â âas opposed to.â With verbal case-frames (see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o7">Sec. 5.7</A>) it would translate as - whereas or while (in its synonymous usage to whereas). + âwhereasâ or âwhileâ (in its synonymous usage to âwhereasâ). Examples are <EM>She chose the red one <STRONG>as opposed to the blue one</STRONG>, Sam drives a van <STRONG>as compared to Joe</STRONG>, who prefers a truck</EM>.</P> <P align="justify"> </P> @@ -1844,9 +1844,9 @@ J vocalic mutation of the stem along with Grade 6 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">AVERSIVE</FONT> identifies a noun as a source or object of fear and/or avoidance. With nouns, it translates expressions - such as for fear of, in order to avoid, or in - avoidance of. With verb phrases (i.e., case-frames; see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o7">Sec. - 5.7</A>) , it would translate English lest. Examples of usage + such as âfor fear of,â âin order to avoid,â or âin + avoidance of.â With verb phrases (i.e., case-frames; see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o7">Sec. + 5.7</A>) , it would translate English âlest.â Examples of usage are <EM>She finished her plate <STRONG>for fear of my wrath</STRONG>, I traveled by night <STRONG>to avoid the sun</STRONG></EM>.</P> <P align="justify"> </P> @@ -1869,8 +1869,8 @@ While various non-Indo-European languages such as Finnish, Hungarian, Basque and the North Caucasian languages accomplish the equivalent of prepositional relationships using noun cases, such relationships are usually accomplished - in Ithkuil via verbal formatives (e.g., a verb translatable as to be - inside of instead of a preposition inside of). Nevertheless, + in Ithkuil via verbal formatives (e.g., a verb translatable as âto be + inside ofâ instead of a preposition âinside ofâ). Nevertheless, there are twelve cases corresponding to certain types of common spatial relationships. These are the <FONT size="2">LOCATIVE, ORIENTATIVE, PROCURSIVE, ALLATIVE, ABLATIVE, PROLATIVE, PERLATIVE, PERVASIVE , PERIPHERAL, INTEGRAL, POSITIONAL</FONT>, and @@ -1892,8 +1892,8 @@ A vocalic mutation of the stem along with Grade 7 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">LOCATIVE</FONT> signifies general static position in the same contextual place as the specified location, translatable - by many English prepositions such as at, in, on, - or by, depending on the context, e.g., <EM>in that building, by + by many English prepositions such as âat,â âin,â âon,â + or âby,â depending on the context, e.g., <EM>in that building, by the wall, on the street, at my house</EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1909,13 +1909,13 @@ <P align="justify">The <FONT size="2">ORIENTATIVE</FONT> case is marked by Series B vocalic mutation of the stem along with Grade 7 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ORIENTATIVE</FONT> identifies the noun - (usually a subcomponent or body part) which serves as the forward end + (usually a subcomponent or body part) which serves as the forward âendâ of a spatially orientated axis aligned to a vector of motion. This is translatable - into English using elements such as -ward(s) or -first + into English using elements such as â-ward(s)â or â-firstâ in conjunction with portions of objects in a spatio-orientational context, e.g., <EM>He jumped in <STRONG>feet-first</STRONG>, The car rolled <STRONG>backward</STRONG></EM>. The <FONT size="2">ORIENTATIVE</FONT> allows for the extension of this concept - to contexts which seem awkward in English translation, e.g., <EM>He walked butt-ward + to contexts which seem awkward in English translation, e.g., <EM>He walked âbutt-wardâ down the street</EM> (i.e., backward with his butt protruding frontwards, leading the way).</P> <P align="justify"> </P> @@ -1938,8 +1938,8 @@ in either the <FONT size="2">ALLATIVE</FONT> or <FONT size="2">POSITIONAL</FONT> case (see Sections 4.8.4 and 4.8.11 below). Examples of use would be <EM>They collided <STRONG>sideways</STRONG>, She turned <STRONG>her back</STRONG> on - him, The chair <STRONG>faced</STRONG> the doorway</EM> (i.e., - The chair stood with its seat and back aligned toward the doorway).</P> + him, The chair â<STRONG>faced</STRONG>â the doorway</EM> (i.e., + The chair stood with itâs seat and back aligned toward the doorway).</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="54%" border="0" cellpadding="0"> @@ -1955,7 +1955,7 @@ D vocalic mutation of the stem along with Grade 7 mutation of the C<FONT size="1">2</FONT> radical consonant. When used in the context of explicit or implied directional motion, the <FONT size="2">ALLATIVE</FONT> signifies the direction of motion, - translatable by to or toward(s) or the suffix -ward(s) + translatable by âtoâ or âtoward(s)â or the suffix â-ward(s)â in English. Note that the <FONT size="2">ALLATIVE</FONT> in no way implies that the object is intended as the final or intended destination or goal of the motion or movement, only the direction of the movement. Examples would be <EM>I wandered @@ -1964,7 +1964,7 @@ <P align="justify">When used in contexts where directional motion is not implied, the <FONT size="2">ALLATIVE</FONT> signifies a directional orientation of a noun relative to another, e.g., <EM>He turned his back <STRONG>on me</STRONG>, - The upstairs bedroom faces <STRONG>the yard</STRONG>, Its alongside <STRONG>the + The upstairs bedroom faces <STRONG>the yard</STRONG>, Itâs alongside <STRONG>the desk</STRONG></EM> (i.e., its lateral surface is oriented toward the desk)</P> <P align="justify"> </P> <DIV align="justify"> @@ -2005,7 +2005,7 @@ medium or a two-dimensional quasi-planar surface, the position or movement being between one point and another, without implying origination at one point or destination at another, e.g., <EM>He passed <STRONG>through a tunnel</STRONG>, - Shes standing <STRONG>along the highway</STRONG>, Ill walk <STRONG>across + Sheâs standing <STRONG>along the highway</STRONG>, Iâll walk <STRONG>across the patio</STRONG>, He pushed his way <STRONG>through the crowd</STRONG>, The vessel traversed <STRONG>the (surface of the) ocean</STRONG></EM>.</P> <P align="justify"> </P> @@ -2101,12 +2101,12 @@ to whose position in space another noun is being described for purposes of spatial orientation. To an English-speaker, the function of this case makes greater sense once one realizes that, in Ithkuil, most one-to-one spatial relationships - are described by verbs, not prepositions, e.g., to be situated on the - right, to move beneath, etc. Consequently, the <FONT size="2">POSITIONAL</FONT> - case can be thought of as expressing the phrase relative to. Examples - of how it would be used are <EM>Im standing four feet north <STRONG>of + are described by verbs, not prepositions, e.g., âto be situated on the + right,â âto move beneath,â etc. Consequently, the <FONT size="2">POSITIONAL</FONT> + case can be thought of as expressing the phrase ârelative to.â Examples + of how it would be used are <EM>Iâm standing four feet north <STRONG>of the desk</STRONG>, The one hanging above <STRONG>the boxes</STRONG> looks fresh, - It lies at a 30° angle <STRONG>relative to the tree</STRONG></EM>.</P> + It lies at a 30° angle <STRONG>relative to the tree</STRONG></EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="55%" border="0" cellpadding="0"> @@ -2146,10 +2146,10 @@ <P align="justify">The temporal cases deal with contexts relating to time. In many respects, Ithkuil analyzes time similarly to Western languages, particularly in the ability to spatially compartmentalize time as seen in such English phrases - as in 3 hours, for 5 years, day by day, - and per month, as well as in analyzing time as progressively linear - using concepts such as before, after, during, - until, and ago. The fifteen temporal cases are the + as âin 3 hours,â âfor 5 years,â âday by day,â + and âper month,â as well as in analyzing time as progressively linear + using concepts such as âbefore,â âafter,â âduring,â + âuntil,â and âago.â The fifteen temporal cases are the <FONT size="2">CONCURSIVE, ACCESSIVE, DIFFUSIVE, PERIODIC, PROLAPSIVE, PRECURSIVE, POSTCURSIVE, ELAPSIVE, ALLAPSIVE, INTERPOLATIVE, EPISODIC, PROLIMITIVE, SIMULTANEITIVE, ASSESSIVE</FONT>, and <FONT size="2">LIMITATIVE</FONT>. Following are explanations @@ -2168,11 +2168,11 @@ </DIV> <P align="justify">The <FONT size="2">CONCURSIVE</FONT> case is marked by Series A vocalic mutation of the stem along with Grade 8 mutation of the C<FONT size="1">2</FONT> - radical consonant. The <FONT size="2">CONCURSIVE</FONT> serves as a temporal - locative signifying the beginning and ending boundaries of time during + radical consonant. The <FONT size="2">CONCURSIVE</FONT> serves as a âtemporal + locativeâ signifying the beginning and ending boundaries of time during or at which an act, state, or event occurs, the whole of which being considered a single contextual situation. Examples of usage would be <EM>He prays <STRONG>during - lunch</STRONG>, She studied hard <STRONG>last night</STRONG>, I wont + lunch</STRONG>, She studied hard <STRONG>last night</STRONG>, I wonât visit until <STRONG>then</STRONG></EM> (i.e., during that period in time). </P> <BLOCKQUOTE> <P><IMG src="assets/4-9-1.gif" width="257" height="53"></P> @@ -2212,7 +2212,7 @@ locative similar to the <FONT size="2">CONCURSIVE</FONT>, except that the time period identified does not have explicit boundaries, only being centered on the period identified by the noun. It is best expressed by the English phrase - during the time surrounding
. Examples of usage would be + âduring the time surroundingâŚ.â Examples of usage would be <EM>Most cars had tail fins <STRONG>in those days</STRONG>; I was abroad <STRONG>during that era</STRONG>; <STRONG>At the time of his death</STRONG>, the number of clowns was increasing; <STRONG>Over the past several seasons</STRONG>, your @@ -2312,7 +2312,7 @@ H vocalic mutation of the stem along with Grade 8 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ELAPSIVE</FONT> identifies the amount of time that has passed between the contextual present and the time of the act, - condition, or event being spoken of. It corresponds to English
ago. + condition, or event being spoken of. It corresponds to English ââŚago.â Examples would be <EM><STRONG>Four years ago</STRONG> I was a student; <STRONG>Going back three generations</STRONG>, women could not even vote</EM>.</P> <P align="justify"> </P> @@ -2331,7 +2331,7 @@ a future act, condition, or event. Examples would be <EM><STRONG>Four years from now</STRONG>, I will be a student; <STRONG>Looking ahead three generations</STRONG>, clowns will rule the world; I will be home <STRONG>in three days</STRONG>; Little - did he know that <STRONG>two months later</STRONG> hed be a rich man</EM>.</P> + did he know that <STRONG>two months later</STRONG> heâd be a rich man</EM>.</P> <P> </P> <TABLE width="55%" border="0" cellpadding="0"> <TBODY><TR> @@ -2418,7 +2418,7 @@ E vocalic mutation of the stem along with Grade 9 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">ASSESSIVE</FONT> specifies the unit of time by which a contextual ratio of measurement is created, corresponding to - English by or per. Examples would be <EM>My lawyer + English âbyâ or âper.â Examples would be <EM>My lawyer charges <STRONG>by the minute</STRONG>, He publishes several books <STRONG>each year</STRONG>, The clown drove the fun-mobile at 90 miles <STRONG>per hour</STRONG></EM>.</P> <P align="justify"> </P> @@ -2435,8 +2435,8 @@ <P align="justify">The <FONT size="2">LIMITATIVE</FONT> case is marked by Series F vocalic mutation of the stem along with Grade 9 mutation of the C<FONT size="1">2</FONT> radical consonant. The <FONT size="2">LIMITATIVE</FONT> signifies a event culminating - an anticipatory context. It translates the English expression in time - for. Examples of usage are <EM>He arrived <STRONG>in time for dinner</STRONG>, + an anticipatory context. It translates the English expression âin time + for.â Examples of usage are <EM>He arrived <STRONG>in time for dinner</STRONG>, Be inside the Big Tent <STRONG>in time for the clowns</STRONG></EM>.</P> <H3 align="justify"><BR> 4.9.16 Examples of Temporal Cases in Use<A name="Sec4o9o16"></A></H3> @@ -2505,7 +2505,7 @@ </TR> </TBODY></TABLE> <BR> -<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT> <P> </P> diff --git a/2004-en-alt/ithkuil-ch5a-verb-morphology1.html b/2004-en-alt/ithkuil-ch5a-verb-morphology1.html index 49dace0..420f56f 100755..100644 --- a/2004-en-alt/ithkuil-ch5a-verb-morphology1.html +++ b/2004-en-alt/ithkuil-ch5a-verb-morphology1.html @@ -92,8 +92,8 @@ </TR> </TBODY></TABLE> </DIV> -<P align="justify">The Ithkuil verbal formative (termed verb in - this chapter for simplicitys sake) is the workhorse of the language, +<P align="justify">The Ithkuil verbal formative (termed âverbâ in + this chapter for simplicityâs sake) is the workhorse of the language, inflecting for twenty-two different morphological categories. These include the eight categories shared by all formatives and already discussed in <A href="ithkuil-ch3-morphology.html">Chapter 3</A>: <STRONG>Configuration, Affiliation, Perspective, Extension, Focus, Essence, @@ -129,10 +129,10 @@ </TBODY></TABLE> <P align="justify">A highly stilted but approximate English translation of the above, capturing as many of the nuances of the Ithkuil phrase as possible, would - be: <EM>
despite apparently being on the verge, contrary to the + be: â<EM>âŚdespite apparently being on the verge, contrary to the allegation, of just so happening to want to succeed in vowing to maybe return periodically to the honorable practice of superlative architecture for others - to follow by example</EM> </P> + to follow by example</EM>â </P> <P align="justify">In this chapter we will examine eight of the 14 morphological categories particular to verbal formatives. The six categories specific to aspectual adjuncts will be described in <A href="ithkuil-ch6-moreverbs.html">Chapter @@ -190,13 +190,13 @@ </TR> </TBODY></TABLE> <P align="justify">The <FONT size="2">DIRECTIVE</FONT> illocution is marked by - the affix -<STRONG></STRONG>- (i.e., the glottal stop). For stems whose + the affix -<STRONG>â</STRONG>- (i.e., the glottal stop). For stems whose C<FONT size="1">1</FONT> radical is a single stop or affricate consonant (i.e., <IMG src="assets/5-1-2a.gif" width="271" height="18" align="absbottom"> plus corresponding ejectives or aspirates) in mutational grades 1 through 8, this illocution is shown by gemination of the initial consonant of C<FONT size="1">1</FONT> consonantal form rather than by a glottal stop (e.g., <STRONG> <FONT size="2" face="Arial, Helvetica, sans-serif">aqq<IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle">wet</FONT></STRONG>, - not <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>aq<FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"></FONT>wet</STRONG></FONT>). + not <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>aâq<FONT size="2" face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" width="4" height="17" align="absmiddle"></FONT>wet</STRONG></FONT>). The <FONT size="2">DIRECTIVE</FONT> illocution is for the purpose of committing the hearer to undertake a course of action represented by the proposition, where the proposition describes a mental wish, desire, or intention on the part of @@ -266,7 +266,7 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">DECLARATIVE</FONT> illocution is marked - by the affix -<FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT>- + by the affix -<FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT>- with alternate forms -<FONT face="Arial, Helvetica, sans-serif"><STRONG>p</STRONG></FONT>-, -<STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG>- or -<FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT>- where euphonically appropriate and/or to avoid confusion with a geminated C<FONT size="1">1</FONT> @@ -275,9 +275,9 @@ convention, cultural rules, law, subjective authority, or personal authority or control of a situation. The commitment imposed upon the hearer is one of recognition or non-recognition. Such utterances include declarations, announcements, - proclamations, and various performative expressions. Certain languages + proclamations, and various âperformativeâ expressions. Certain languages mark this function of a verb using a mood known as hortative. Examples would - be: <EM>I dub thee Clown Master!, The king will hear all grievances + be: <EM>I dub thee âClown Masterâ!, The king will hear all grievances at noon each day, This court is now in session, We hereby declare this treaty null and void!</EM></P> <P align="justify"> </P> @@ -304,11 +304,11 @@ one is not asking <EM>Would you like to dance with me?</EM> Rather, one is expressing what can only be translated either a specialized command <EM>(State whether) you will dance with me</EM> or a specialized assertion <EM>(I inquire whether) - you will dance with me</EM>. One does not say <EM>Whats your name?</EM>, + you will dance with me</EM>. One does not say <EM>Whatâs your name?</EM>, but rather <EM>Tell me your name</EM>. </P> <P align="justify">Indeed, Ithkuil has no words corresponding to the English words - question or ask, the nearest equivalents being derived - from the words for investigation and determine. + âquestionâ or âask,â the nearest equivalents being derived + from the words for âinvestigationâ and âdetermine.â Consequently, there is no question mark used at the end of the sentence, nor does the pitch of the voice rise as is usual with Western languages when asking questions. The commitment on the part of the listener in regard to the <FONT size="2">INTERROGATIVE</FONT> @@ -332,8 +332,8 @@ used where euphonically appropriate and/or to avoid confusion with a geminated C<FONT size="1">1</FONT> consonantal form. The <FONT size="2">ADMONITIVE</FONT> is used for admonitions and warnings, corresponding to English phrases such - as (I) caution you lest
, (I) warn you against
, - or Be careful not to
. The utterance is neither true nor + as â(I) caution you lestâŚ,â â(I) warn you againstâŚ,â + or âBe careful not toâŚ.â The utterance is neither true nor false because it describes only a potential act or situation which may occur unless avoided. The commitment on the part of the hearer is to assess the degree of likelihood of the potentiality, followed by a choice whether to heed or ignore/defy @@ -356,7 +356,7 @@ verb, i.e., participation by one party automatically implies participation by another party to the same act, event, or state in either a parallel, corollary, or complementary fashion. Such dual participation occurs naturally in the verbs - of world languages and is the province of what is known as co-active + of world languages and is the province of what is known as âco-activeâ verbs. While all languages implicitly have co-active verbs, Ithkuil explicitly shows this dual participation in a formal and systematic way. To illustrate the concept of co-activity in English compare the following pairs of sentences:</P> @@ -405,31 +405,31 @@ that the verbs <EM>find</EM>, <EM>throw at</EM>, and <EM>perform</EM> have been replaced by the semantically similar <EM>meet</EM>, <EM>throw</EM>, and <EM>entertain</EM>. Nevertheless, the use of inanimate objects with these latter three verbs appears - unacceptable. The reason is that the verbs in the first set are mono-active, + unacceptable. The reason is that the verbs in the first set are âmono-active,â i.e., they do not require that the object participate in the action in any way, - whereas the verbs in the second set are co-active, requiring that + whereas the verbs in the second set are âco-active,â requiring that the object participate in the action along with the subject. Thus, while I can <EM>find</EM> an old man without the old man doing anything about it or even being aware of it, I cannot <EM>meet</EM> an old man without the old man also meeting me. I can <EM>throw a ball at Sam</EM> without Sam noticing, but if I <EM>throw Sam a ball</EM> it implies that he is expected to participate by - catching it. Similarly, I can <EM>perform</EM> in front of someone even if theyre - asleep, but I cant <EM>entertain</EM> them unless they are participating + catching it. Similarly, I can <EM>perform</EM> in front of someone even if theyâre + asleep, but I canât <EM>entertain</EM> them unless they are participating in the situation by observing me. </P> <P align="justify">The participatory relationship involving the second party of a co-active verb differs depending on the context. It can be a parallel relationship (i.e., both parties participate identically) as implied by the English adverb - together in <EM>He and I jog together</EM>, or a reciprocal relationship + âtogetherâ in <EM>He and I jog together</EM>, or a reciprocal relationship as in the sentence <EM>I met the old man</EM> (i.e., and so he met me) or in - verbs used with the adverbial phrase each other, as in <EM>We + verbs used with the adverbial phrase âeach other,â as in <EM>We love each other</EM>. The relationship can be one of accompaniment as in <EM>I played along with him</EM> (e.g., as he sang), or a complementary relationship as in <EM>I threw Sam the ball</EM> (i.e., and so he caught it).</P> <P align="justify">Other sorts of co-active relationships are possible. It is the differences in these relationships that are systematized in Ithkuil into the category called valence. In English and other languages co-activity is rarely - explicit and systematic (the use of adverbs such as together, - each other, or prefixes such as out- as in <EM>out-perform</EM> + explicit and systematic (the use of adverbs such as âtogether,â + âeach other,â or prefixes such as âout-â as in <EM>out-perform</EM> are some exceptions), and when lexified within a verb itself, are implicitly specific to that verb, giving rise to monoactive/co-active pairs such as <EM>find/meet, throw at/throw, perform/entertain</EM>, etc. </P> @@ -455,7 +455,7 @@ where <STRONG>V<FONT size="1">v</FONT></STRONG> is the vocalic prefix signifying the valence and version of the verb. These prefixes are shown below in Table 12. Following the table are explanations of each valence. It should be noted - that placement of a glottal stop infix -<STRONG></STRONG>- between the + that placement of a glottal stop infix -<STRONG>â</STRONG>- between the <STRONG>V<FONT size="1">v</FONT></STRONG> prefix and <IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle"> assigns positive focus <STRONG>+FC</STRONG> to the main verb.</P> <P><BR> @@ -528,7 +528,7 @@ </DIV> <P align="justify">The <FONT size="2">RECIPROCAL</FONT> valence indicates identical activity by each party directed at the other, thus translating the English adverbial - phrases each other and one another, as in <EM>They + phrases âeach otherâ and âone another,â as in <EM>They looked at each other, The clown and the grocer despise one another</EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -543,13 +543,13 @@ </DIV> <P align="justify">The <FONT size="2">COMPLEMENTARY</FONT> valence indicates that the second party performs a complementary activity to that of the first party. - By complementary is meant an activity different from that of the + By âcomplementaryâ is meant an activity different from that of the first party, but necessary to complete the whole of the joint activity, i.e., - the other half of the joint activity. This is exemplified in sentences + the âother halfâ of the joint activity. This is exemplified in sentences such as <EM>The man and his son played catch, Hortense took me into the woods, - The clown read the children a story</EM>, where played catch implies - the complementary activities of throwing and catching, took (into the - woods) implies someone leading while the other follows, and read + The clown read the children a story</EM>, where âplayed catchâ implies + the complementary activities of throwing and catching, âtook (into the + woods)â implies someone leading while the other follows, and âreadâ implies a reader and an audience.</P> <P align="justify"></P> <DIV align="justify"> @@ -566,12 +566,12 @@ a second party engages in a completely unrelated activity from the first, i.e., an incidental or circumstantial co-activity. There is no direct way to exemplify this valence in English translation other than to add a periphrastic clause - such as while the other did something else as in <EM>He shaved + such as âwhile the other did something elseâ as in <EM>He shaved while she did something else</EM>. The way an Ithkuil sentence would utilize this valence would be in sentences overtly constructed to say, for example, - They were in the house with the <FONT size="2">NONRELATIONAL</FONT> - valence rendering a connotation of
where one party was doing one - thing while the other did something else.</P> + âThey were in the houseâ with the <FONT size="2">NONRELATIONAL</FONT> + valence rendering a connotation of ââŚwhere one party was doing one + thing while the other did something else.â</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -585,7 +585,7 @@ </DIV> <P align="justify">The <FONT size="2">DUPLICATIVE</FONT> valence indicates that the second party copies or repeats the activity of the first party, as in the - sentences <EM>Lets draw a picture</EM> (i.e., Ill draw it first, + sentences <EM>Letâs draw a picture</EM> (i.e., Iâll draw it first, then you draw the same picture), <EM>They both read that book</EM> (i.e., first one, then the other), <EM>I bought a new car</EM> (i.e., and now someone else is buying a new car, too).</P> @@ -603,9 +603,9 @@ <P align="justify">The <FONT size="2">DEMONSTRATIVE</FONT> valence indicates that the first party demonstrates for the second party how to do something or what to do. Thus an Ithkuil sentence constructed as <EM>We played chess</EM> with - the verb in the <FONT size="2">DEMONSTRATIVE</FONT> valence would mean I - showed her how to play chess, while the sentence constructed as <EM>They - fought us</EM> in this valence would mean They taught us how to fight.</P> + the verb in the <FONT size="2">DEMONSTRATIVE</FONT> valence would mean âI + showed her how to play chess,â while the sentence constructed as <EM>They + fought us</EM> in this valence would mean âThey taught us how to fight.â</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -620,10 +620,10 @@ <P align="justify">The <FONT size="2">RESISTIVE</FONT> valence indicates that the second party resists or attempts to avoid participating in the activity of the first party. This sense can sometimes be suggested in English using the - adverbs anyway, nevertheless, or adverbial phrases - such as just the same, as in sentences such as <EM>We took the - children to see the clowns anyway</EM> (i.e., they didnt want to go), - <EM>They fed me liver just the same</EM> (i.e., I cant stand liver), + adverbs âanyway,â ânevertheless,â or adverbial phrases + such as âjust the same,â as in sentences such as <EM>We took the + children to see the clowns anyway</EM> (i.e., they didnât want to go), + <EM>They fed me liver just the same</EM> (i.e., I canât stand liver), <EM>Nevertheless, he told us the story</EM> (i.e., despite our not wanting to hear it).</P> <P align="justify"> </P> @@ -672,9 +672,9 @@ </DIV> <P align="justify">The <FONT size="2">PARTICIPATIVE</FONT> valence indicates that the parties take part in an activity involving a greater whole, translatable - by the English phrase take part in.
Thus, the Ithkuil sentence - <EM>They raced </EM>in the <FONT size="2">PARTICIPATIVE</FONT> means They - each took part in the race.</P> + by the English phrase âtake part in.âŚâ Thus, the Ithkuil sentence + <EM>They raced </EM>in the <FONT size="2">PARTICIPATIVE</FONT> means âThey + each took part in the race.â</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -687,11 +687,11 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">INDICATIVE</FONT> valence indicates that - the second party perceives a cue, nuance, or implication from the first partys + the second party perceives a cue, nuance, or implication from the first partyâs activity. Thus the sentence <EM>I looked at her</EM> in the <FONT size="2">INDICATIVE</FONT> - would mean She understood what I meant from my looking at her - while the sentence <EM>I spoke to them</EM> would mean They gleaned what - I really meant from my words.</P> + would mean âShe understood what I meant from my looking at herâ + while the sentence <EM>I spoke to them</EM> would mean âThey gleaned what + I really meant from my words.â</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -722,7 +722,7 @@ </TBODY></TABLE> <P align="justify">Version refers to a six-way aspectual distinction indicating whether the verb refers to an act, event or state which is goal- or result-oriented, - and/or whether it has been successfully actualized subsequent to ones + and/or whether it has been successfully actualized subsequent to oneâs initial intention. Like many Ithkuil morphological categories, version addresses semantic distinctions which are usually rendered by lexical differentiation (i.e., word choice) in other languages. </P> @@ -867,19 +867,19 @@ versions respectively but are specific to acts, events, or states initially expressed (whether explicitly or implicitly) as unrealized intentions, attempts, desires, needs, etc., often in conjunction with a modality affix to the verb - (see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o5">Sec. 5.5</A>). Such unrealized + (see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o5">Sec. 5.5</A>). Such âunrealizedâ verbs are exemplified in the following sentences: <EM>I want to dance, She needs to work, I tried to finish, She must find him, I choose to celebrate</EM>. Each - of these sentences in itself does not specify whether the action was realized - or not, i.e., just because I want to dance doesnt necessarily mean that - I actually do dance; her need to work doesnt tell us by itself whether + of these sentences in itself does not specify whether the action was ârealizedâ + or not, i.e., just because I want to dance doesnât necessarily mean that + I actually do dance; her need to work doesnât tell us by itself whether she in fact will work, etc.</P> <P align="justify">The <FONT size="2">INEFFECTUAL</FONT> version indicates that - the outcome of an unrealized <FONT size="2">PROCESSUAL</FONT> + the outcome of an âunrealizedâ <FONT size="2">PROCESSUAL</FONT> verb is unsuccessful. Thus the sentence <EM>I want to dance</EM> in the <FONT size="2">INEFFECTUAL</FONT> - would be translated as <EM>I want to dance but Im not going to</EM>, + would be translated as <EM>I want to dance but Iâm not going to</EM>, while the sentence <EM>I tried to eat</EM> in the <FONT size="2">INEFFECTUAL</FONT> - means <EM>I tried to eat but couldnt</EM>.</P> + means <EM>I tried to eat but couldnât</EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -892,12 +892,12 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">INCOMPLETIVE</FONT> version indicates that - the outcome of an unrealized <FONT size="2">COMPLETIVE</FONT> + the outcome of an âunrealizedâ <FONT size="2">COMPLETIVE</FONT> verb is unsuccessful. It functions identically to the <FONT size="2">INEFFECTUAL</FONT>, except that it refers to a verb that is result/goal-oriented, as illustrated in the comparative chart shown above for the <FONT size="2">COMPLETIVE</FONT> version. Thus, the sentence <EM>I tried to eat</EM> in the <FONT size="2">INCOMPLETIVE</FONT> - means <EM>I tried to eat all of it but couldnt</EM>.</P> + means <EM>I tried to eat all of it but couldnât</EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -912,7 +912,7 @@ <P align="justify">Complementing the <FONT size="2">INEFFECTUAL</FONT>, the <FONT size="2">POSITIVE</FONT> version indicates an intention brought to reality. Thus the sentence <EM>I want to dance</EM> in the <FONT size="2">POSITIVE</FONT> would be translated as <EM>I - want to dance and so Im going to</EM>, while the sentence <EM>I tried + want to dance and so Iâm going to</EM>, while the sentence <EM>I tried to eat</EM> in the <FONT size="2">POSITIVE</FONT> means <EM>I succeeded in eating something</EM>.</P> <P align="justify"> </P> @@ -958,24 +958,24 @@ <P>1. <EM>He bicycled south. = </EM>He traveled south by bicycle.<BR> 2. <EM>She dolled herself up</EM>. = She made herself look as pretty as a doll.<BR> - 3. <EM>Theyre shelving the books</EM>. = Theyre putting the + 3. <EM>Theyâre shelving the books</EM>. = Theyâre putting the books on the shelf/shelves.<BR> 4. <EM>Slide me a beer</EM>. = Give me a beer by sliding it (e.g., along the bar).</P> </BLOCKQUOTE> <P align="justify">The above sentences show four verbs which respectively carry inherent senses of vector movement, transformation, positioning/placement, and - giving. The patterning of such conflated verbs is usually random + giving. The patterning of such âconflatedâ verbs is usually random and haphazard in any given language. For example, the English <EM>to bicycle</EM> - in sentence (1) means to travel by means of bicycle, not to - make a bicycle or to be a bicycle. On the other hand, the - verb <EM>to doll up</EM> does not mean to travel by doll, but - rather to make appear like a doll. Yet, <EM>to shelve</EM> means - to place on a shelf, not to travel by means of shelves - or to make appear like a shelf. And none of the verbs in the first + in sentence (1) means âto travel by means of bicycle,â not âto + make a bicycleâ or âto be a bicycle.â On the other hand, the + verb <EM>to doll up</EM> does not mean to âtravel by doll,â but + rather âto make appear like a doll.â Yet, <EM>to shelve</EM> means + âto place on a shelf,â not âto travel by means of shelvesâ + or âto make appear like a shelf.â And none of the verbs in the first three sentences connotes the idea of giving or conveyance as does <EM>slide</EM> in sentence (4).</P> -<P align="justify">As can be seen, verb conflation is essentially a short-cut +<P align="justify">As can be seen, verb conflation is essentially a âshort-cutâ way of combining an unspoken primary verbal sense (such as movement, transformation, placement, giving, etc.) with an overtly expressed verb that conveys a secondary sense such as means, manner, or location. This can be formally notated for our @@ -989,7 +989,7 @@ = <EM><STRONG>She dolled herself up</STRONG></EM>.</FONT></P> <P align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">They [1: (PUT+progressive) the books] [2: (TO-LOCATION-OF) shelves] <BR> - = <EM><STRONG>Theyre shelving the books</STRONG></EM>.</FONT></P> + = <EM><STRONG>Theyâre shelving the books</STRONG></EM>.</FONT></P> <P align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">[1: (GIVE+imperative)] a beer [2: (BY-MEANS-OF) sliding] to me <BR> = <EM><STRONG>Slide me a beer</STRONG></EM>.</FONT></P> @@ -997,15 +997,15 @@ <P align="justify">Note that the particular unspoken covert and overt senses (shown by the numerals 1 and 2 in the above analyses) are specific to any given verb and must be subjectively learned by the listener, i.e., a speaker of English - must learn that <EM>to hand</EM> means to GIVE by MEANS of ones hand, + must learn that <EM>to hand</EM> means to GIVE by MEANS of oneâs hand, but <EM>to shoulder</EM> does <STRONG>not</STRONG> mean to GIVE by MEANS of - ones shoulder. </P> + oneâs shoulder. </P> <P align="justify">Thus, while conflation of verbs presents a potential opportunity for instantiating verbs with patterns of overt and covert meaning, the lack of systemization prevents one from knowing with certainty what pattern to use when attempting to interpret the usage of a verb form. For example, imagine - an English speaker using a new verb form such as to apple, as - in <EM>Lets apple today</EM>. Would this mean <EM>to pick + an English speaker using a new verb form such as âto apple,â as + in <EM>Letâs âappleâ today</EM>. Would this mean <EM>to pick apples?, to eat apples?, to plant apples?, to bake apples?, to buy apples?, to turn something into an apple?, to wear apple-related clothing?</EM> Without a standardized system of conflation, the meaning of such a form could only be @@ -1045,7 +1045,7 @@ a shelf</EM>, etc. (The fact that such semantically anomalous forms are morphologically permissible presents no problem from a logical perspective and is inherent in human language, as exemplified in English by morphologically permissible but - semantically anomalous forms such as re-laugh or co-beer.)</P> + semantically anomalous forms such as âre-laughâ or âco-beer.â)</P> <P align="justify">The specifics of primary conflation, format, and derivative conflation are detailed in the following sections.</P> <P align="justify"> </P> @@ -1070,20 +1070,20 @@ <TD bgcolor="#999999"> <DIV align="center"><FONT color="#FFFFFF" size="2"><STRONG><FONT face="Arial, Helvetica, sans-serif">OPR</FONT></STRONG></FONT></DIV></TD> <TD bgcolor="#CCCCCC"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">To perform the action - of X; to do what X does; to carry out Xs function</FONT></TD> + of X; to do what X does; to carry out Xâs function</FONT></TD> </TR> <TR> <TD bgcolor="#999999"> <DIV align="center"><FONT color="#FFFFFF" size="2"><STRONG><FONT face="Arial, Helvetica, sans-serif">STA</FONT></STRONG></FONT></DIV></TD> <TD bgcolor="#CCCCCC"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">STATIVE</FONT></STRONG></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Stative manifestation, - i.e. to be in a (temporary) state; does NOT mean be in the - sense of copula identification as in I am John</FONT></TD> + i.e. to be in a (temporary) state; does NOT mean âbeâ in the + sense of copula identification as in âI am Johnâ</FONT></TD> </TR> <TR> <TD bgcolor="#999999"> <DIV align="center"><FONT color="#FFFFFF" size="2"><STRONG><FONT face="Arial, Helvetica, sans-serif">MNF</FONT></STRONG></FONT></DIV></TD> <TD bgcolor="#CCCCCC"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">MANIFESTIVE</FONT></STRONG></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">To manifest or be identified - as a specific entity; this is the nearest equivalent to the be + as a specific entity; this is the nearest equivalent to the âbeâ copula of identification in Western languages</FONT></TD> </TR> <TR> @@ -1133,7 +1133,7 @@ their respective suffixes to a valence adjunct. </P> <P align="justify">The astute reader may have noted in Table 14 above that the prefixes for the <FONT size="2">OPERATIVE</FONT> conflation are the same as - the default (i.e., conflation-less) Extension/Affiliation prefixes + the default (i.e., âconflation-lessâ) Extension/Affiliation prefixes for nouns previously shown in Table 11 of <A href="ithkuil-ch3-morphology.htm#Sec3o4">Sec. 3.4</A>. One may ask, then, how one knows whether or not these particular prefixes are meant to show <FONT size="2">OPERATIVE</FONT> conflation on a formative. @@ -1154,7 +1154,7 @@ <TD bgcolor="#CCCCCC"><DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">SCHEMATIC</FONT></STRONG></DIV></TD> <TD><DIV align="center">-<IMG src="assets/m-double plus accent.gif" width="24" height="13"></DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Indicates that the - verb specifies the manner of the conflated primary sense, e.g., <EM>Im + verb specifies the manner of the conflated primary sense, e.g., <EM>Iâm speeding through the book</EM> = reading speedily; <EM>Clouds blanketed the city</EM> = cover like a blanket</FONT></TD> </TR> @@ -1202,7 +1202,7 @@ <TD><DIV align="center">-<IMG src="assets/mm-grave.gif" width="25" height="16" align="absbottom"></DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">Indicates that the verb specifies the subsequent cause-and-effect result or purpose (not the - concurrent result) of the conflated sense, e.g., <EM>Ill look in + concurrent result) of the conflated sense, e.g., <EM>Iâll look in on the stew</EM> (conflated sense: GO [to kitchen])</FONT></TD> </TR> <TR> @@ -1272,7 +1272,7 @@ = <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">p</FONT></STRONG> are as follows: <STRONG>C<FONT size="1">N</FONT>1</STRONG> = <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">p</FONT></STRONG>, <STRONG>C<FONT size="1">N</FONT>2</STRONG> = <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">b</FONT></STRONG>, - and <STRONG>C<FONT size="1">N</FONT>3</STRONG> = <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">p</FONT></STRONG>. + and <STRONG>C<FONT size="1">N</FONT>3</STRONG> = <STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">p</FONT>â</STRONG>. Thus, combining <STRONG>C<FONT size="1">N</FONT></STRONG> = <STRONG>p</STRONG> with the valence adjunct forms <STRONG><FONT face="Arial, Helvetica, sans-serif">ei</FONT></STRONG><IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle">, <STRONG><FONT face="Arial, Helvetica, sans-serif">wei</FONT></STRONG><IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle">, @@ -1289,7 +1289,7 @@ </FONT></STRONG></DIV></TD> <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">p + yei<IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle"> - = pei<IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle"></FONT></STRONG></DIV></TD> + = pâei<IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle"></FONT></STRONG></DIV></TD> </TR> </TBODY></TABLE> <P align="justify"><BR> @@ -1297,10 +1297,10 @@ shown in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o2">Sec. 5.4.2</A> above, indicating the covert sense of the conflated verb. </P> <P align="justify">Examples of basic conflation adjuncts are <FONT face="Arial, Helvetica, sans-serif"><STRONG>bram<IMG src="assets/m-acute.gif" width="12" height="17" align="absbottom">, - téu<IMG src="assets/nn-cedilla-grave.gif" width="15" height="15" align="absmiddle">, + tĂŠu<IMG src="assets/nn-cedilla-grave.gif" width="15" height="15" align="absmiddle">, wiu<IMG src="assets/nn-acute.gif" width="15" height="14" align="absmiddle">, - llëu<IMG src="assets/l-bar double plus accent.gif" width="13" height="16">, - and c˙<IMG src="assets/r-cedilla double plus accent.gif" width="15" height="16" align="absmiddle">ua. + llĂŤu<IMG src="assets/l-bar double plus accent.gif" width="13" height="16">, + and cË<IMG src="assets/r-cedilla double plus accent.gif" width="15" height="16" align="absmiddle">ua. </STRONG></FONT></P> <P align="justify">The following tables show the <STRONG>C<FONT size="1">N</FONT></STRONG> prefixes and the overt senses associated with these derivations.</P> @@ -1327,7 +1327,7 @@ <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">b</FONT></STRONG></DIV></TD> <TD rowspan="7"> - <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">p</FONT></STRONG></DIV></TD> + <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">pâ</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>do, undertake, take on</TD> </TR> @@ -1370,7 +1370,7 @@ <TR> <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG></DIV></TD> <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">d</FONT></STRONG></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">tâ</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>use, utilize</TD> </TR> @@ -1413,7 +1413,7 @@ <TR> <TD rowspan="7"><DIV align="center"><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle"></DIV></TD> <TD rowspan="7"><DIV align="center"><IMG src="assets/Jv.gif" width="9" height="20" align="absbottom"></DIV></TD> - <TD rowspan="7"><DIV align="center"><IMG src="assets/k-cedilla.gif" align="absmiddle"><STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><IMG src="assets/k-cedilla.gif" align="absmiddle"><STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>get, induce to</TD> </TR> @@ -1456,7 +1456,7 @@ <TR> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">g</FONT></STRONG></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">k</FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">kâ</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>let, permit, allow</TD> </TR> @@ -1499,7 +1499,7 @@ <TR> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><IMG src="assets/g-dot.gif" width="12" height="19" align="bottom"></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG>â</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>have (someone do something)</TD> </TR> @@ -2060,7 +2060,7 @@ <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-slash.gif" width="8" height="14"></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18"></FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> - <TD>try out, taste</TD> + <TD>try out, âtasteâ</TD> </TR> <TR> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">STATIVE</FONT></STRONG></TD> @@ -2150,7 +2150,7 @@ </TR> <TR> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">STATIVE</FONT></STRONG></TD> - <TD>occupy space, cover</TD> + <TD>occupy space, âcoverâ</TD> </TR> <TR> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">MANIFESTIVE</FONT></STRONG></TD> @@ -2230,7 +2230,7 @@ <TR> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>c</STRONG></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/z-bar.gif" width="9" height="11" align="absbottom"></FONT></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>c</STRONG></FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>câ</STRONG></FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>ally (with)</TD> </TR> @@ -2273,7 +2273,7 @@ <TR> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/C dot.gif" width="9" height="14"></STRONG></FONT></STRONG></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/z-dot.gif" width="9" height="15"></FONT></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></STRONG></FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></STRONG></FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>do right, best thing</TD> </TR> @@ -2316,7 +2316,7 @@ <TR> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15"></FONT></DIV></TD> <TD rowspan="7"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>j</STRONG></FONT></DIV></TD> - <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"></FONT></STRONG></DIV></TD> + <TD rowspan="7"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle">â</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>respond, reply</TD> </TR> @@ -2836,7 +2836,7 @@ <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">st</FONT><FONT face="Arial, Helvetica, sans-serif"><BR> </FONT></STRONG></DIV></TD> <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">sn</FONT></STRONG></DIV></TD> - <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">st</FONT></STRONG></DIV></TD> + <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">stâ</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>waste</TD> </TR> @@ -2880,7 +2880,7 @@ <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">sp<BR> </FONT></STRONG></DIV></TD> <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">sm</FONT></STRONG></DIV></TD> - <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">sp</FONT></STRONG></DIV></TD> + <TD rowspan="7"> <DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">spâ</FONT></STRONG></DIV></TD> <TD><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">OPERATIVE</FONT></STRONG></TD> <TD>practice, perform practice of</TD> </TR> @@ -2972,7 +2972,7 @@ <!-- <td valign="top"><font face="Arial, Helvetica, sans-serif"><a href="ilaksh/Ilaksh_Intro.html">Revised Ithkuil: <font face="Times New Roman, Times, serif">I</font>laksh</a></font></td> --> </TR> </TBODY></TABLE> -<P align="left"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt +<P align="left"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="left"><BR> diff --git a/2004-en-alt/ithkuil-ch5b-verb-morphology2.html b/2004-en-alt/ithkuil-ch5b-verb-morphology2.html index 3c3c6bb..a0f1da0 100755..100644 --- a/2004-en-alt/ithkuil-ch5b-verb-morphology2.html +++ b/2004-en-alt/ithkuil-ch5b-verb-morphology2.html @@ -102,14 +102,14 @@ of both the Essence (see <A href="ithkuil-ch3-morphology.htm#Sec3o8">Sec. 3.8</A>) and the Perspective (see <A href="ithkuil-ch3-morphology.htm#Sec3o3">Sec. 3.3</A>) of the verb, as well as invoking the use of the <FONT size="2">ACTIVATIVE</FONT> - case to mark the subject noun (see <A href="ithkuil-ch4-case.htm#Sec4o3o9">Sec. + case to mark the âsubjectâ noun (see <A href="ithkuil-ch4-case.htm#Sec4o3o9">Sec. 4.3.9</A>). The nature of these modifications is explained as follows:</P> <P align="justify">As we saw in <A href="ithkuil-ch3-morphology.htm#Sec3o8">Sections 3.8</A> and<FONT color="#FF0000"> </FONT><A href="ithkuil-ch4-case.htm#Sec4o3o9">4.3.9</A>, it is possible in human language to speak about events that are either unreal, as-yet-unrealized, or alternative versions of reality. Specifically, nouns and verbs can make reference to hypothetical representations of real-world counterparts - from within an alternative mental space created psychologically + from within an âalternative mental spaceâ created psychologically (and implied linguistically). This alternative mental space is essentially the psychological realm of potential and imagination. It is seen, for example, in the following sentences.</P> @@ -133,7 +133,7 @@ imagined, or hypothetical events, the nouns and verbs within those clauses would be marked in the <FONT size="2">ABSTRACT</FONT> perspective (see <FONT color="#FF0000"><A href="ithkuil-ch3-morphology.htm#Sec3o4">Sec. 3.4</A></FONT>) and the <FONT size="2">REPRESENTATIVE</FONT> essence (see <A href="ithkuil-ch3-morphology.htm#Sec3o8">Sec. - 3.8</A>). The subject nouns which invoke the event (the nouns + 3.8</A>). The âsubjectâ nouns which invoke the event (the nouns <EM>you, girl, troops, mother, teacher</EM>, and <EM>man</EM> in the six sentences above) would be marked in the <FONT size="2">ACTIVATIVE</FONT> case (see <FONT color="#FF0000"><A href="ithkuil-ch4-case.htm#Sec4o3o9">Sec. 4.3.9</A></FONT>). It should be noted that not all Ithkuil modalities necessarily @@ -181,7 +181,7 @@ </DIV> <P align="justify">The <FONT size="2">ASPIRATIVE</FONT> corresponds to English constructions expressing wishing or hoping, e.g., to wish that, to hope that, - etc. It is marked by adding the suffix -<STRONG>ü</STRONG> to a conflational + etc. It is marked by adding the suffix -<STRONG>Ăź</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -196,8 +196,8 @@ </DIV> <P align="justify">The <FONT size="2">EXPECTATIVE</FONT> corresponds to English constructions expressing expectation, as in <EM>He expected her to be beautiful</EM>, - or <EM>I imagine hes reached his destination</EM>. It is marked by adding - the suffix -<STRONG>ď </STRONG>to a conflational or valence adjunct.</P> + or <EM>I imagine heâs reached his destination</EM>. It is marked by adding + the suffix -<STRONG>Ä </STRONG>to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -213,7 +213,7 @@ constructions expressing belief, as in <EM>I think she has two sons</EM>, or <EM>We believe the earth to be round</EM>. Note that it does not correspond to English expressions of opinion, i.e., it would not be used in translating - sentences such as <EM>I think shes pretty</EM>. It is marked by adding + sentences such as <EM>I think sheâs pretty</EM>. It is marked by adding the suffix -<STRONG>u</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -228,8 +228,8 @@ </DIV> <P align="justify">The <FONT size="2">REQUISITIVE</FONT> corresponds to English constructions expressing requests, as in <EM>I request his presence at the banquet</EM>, - or <EM>Id like you to visit your father</EM>. It is marked by adding - the suffix -<STRONG>â</STRONG> to a conflational or valence adjunct.<BR> + or <EM>Iâd like you to visit your father</EM>. It is marked by adding + the suffix -<STRONG>â</STRONG> to a conflational or valence adjunct.<BR> <BR> </P> <DIV align="justify"> @@ -244,7 +244,7 @@ </DIV> <P align="justify">The <FONT size="2">EXHORTATIVE</FONT> corresponds to English expressions of exhortation or demand, as in <EM>I demand you return my book</EM> - or <EM>Let the gates be opened!</EM> It is marked by adding the suffix -<STRONG>ű</STRONG> + or <EM>Let the gates be opened!</EM> It is marked by adding the suffix -<STRONG>Ĺą</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -258,8 +258,8 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">OPPORTUNITIVE</FONT> corresponds to the - English modal verb can/could/be able where it means have the opportunity - to, as in <EM>Can we pass by our old house when we visit town?</EM> or + English modal verb can/could/be able where it means âhave the opportunity + to,â as in <EM>Can we pass by our old house when we visit town?</EM> or <EM>Because of the delay, she was able to go to the museum after all</EM>. It is marked by adding the suffix -<STRONG>ai</STRONG> to a conflational or valence adjunct.</P> @@ -275,8 +275,8 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">CAPACITATIVE</FONT> corresponds to the English - modal verb <EM>can/could/be able</EM> where it means have the ability - or capacity to, as in <EM>Can she sing opera?</EM> or <EM>He could run + modal verb <EM>can/could/be able</EM> where it means âhave the ability + or capacity to,â as in <EM>Can she sing opera?</EM> or <EM>He could run like the wind</EM>. Note that it would also be used when translating English generic statements implying ability or capacity as in <EM>He speaks French like a native</EM> [i.e., the sentence does not imply he is speaking French at the @@ -295,7 +295,7 @@ </DIV> <P align="justify">The <FONT size="2">PERMISSIVE</FONT> corresponds to the English modal verbs <EM>can/could/be able</EM> or <EM>may/might</EM> where they mean - be permitted to, as in <EM>Very well, you can have ice cream for + âbe permitted to,â as in <EM>Very well, you can have ice cream for dessert</EM>; or <EM>Could I talk to you?</EM> It is marked by adding the suffix -<STRONG>oi</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> @@ -310,12 +310,12 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">POTENTIAL</FONT> corresponds to the English - modal verb <EM>can/could/be</EM> able where it means have the potential - to or the possibility of, as in <EM>Remember it can flood suddenly in + modal verb <EM>can/could/be</EM> able where it means âhave the potential + to or the possibility of,â as in <EM>Remember it can flood suddenly in this area</EM>, or <EM>That man could fly into rages for no reason</EM>. It is also used when translating generic statements implying potential or possibility, as in <EM>It rains unpredictably in the Northwest</EM>. It is marked by adding - the suffix -<STRONG>ëi</STRONG> to a conflational or valence adjunct.</P> + the suffix -<STRONG>ĂŤi</STRONG> to a conflational or valence adjunct.</P> <P align="justify"></P> <P align="justify"></P> <DIV align="justify"> @@ -363,7 +363,7 @@ </DIV> <P align="justify">The <FONT size="2">IMPOSITIVE</FONT> corresponds to English expressions such as <EM>be supposed to, be expected to</EM>, or <EM>be to</EM> - which impose an expectation upon a party, as in <EM>Youre supposed to + which impose an expectation upon a party, as in <EM>Youâre supposed to smile when introduced</EM>, or <EM>He is to give a speech at the banquet</EM>. It is marked by adding the suffix -<STRONG>au</STRONG> to a conflational or valence adjunct.</P> @@ -429,7 +429,7 @@ <P align="justify">The <FONT size="2">DISPOSITIVE</FONT> corresponds to the English expression <EM>to be willing to</EM>, conveying willingness as in <EM>He is willing to give his life to defeat the clowns</EM>. It is marked by addition - of the suffix -<STRONG>äi</STRONG> to a conflational or valence adjunct. + of the suffix -<STRONG>äi</STRONG> to a conflational or valence adjunct. </P> <P align="justify"> </P> <DIV align="justify"> @@ -444,8 +444,8 @@ </DIV> <P align="justify">The <FONT size="2">PREPARATIVE</FONT> corresponds to the English expressions <EM>be ready to</EM> or <EM>be prepared to</EM>, indicating readiness, - as in <EM>Shes ready to host the party</EM>, or <EM>They are prepared - to endure harsh weather</EM>. It is marked by addition of the suffix -<STRONG>öi</STRONG> + as in <EM>Sheâs ready to host the party</EM>, or <EM>They are prepared + to endure harsh weather</EM>. It is marked by addition of the suffix -<STRONG>Ăśi</STRONG> to a conflational or valence adjunct. </P> <P align="justify"> </P> <DIV align="justify"> @@ -462,7 +462,7 @@ English expressions <EM>need to</EM> or <EM>be necessary to</EM>, indicating necessity, as in <EM>You need to do something about those clowns in the yard</EM>, or <EM>It was necessary to inform her about the atrocities</EM>. It is marked - by addition of the suffix -<STRONG>ëu</STRONG> to a conflational or valence + by addition of the suffix -<STRONG>ĂŤu</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -478,7 +478,7 @@ <P align="justify">The <FONT size="2">DECISIVE</FONT> corresponds to English expressions such as decide to or choose to, indicating choice, as in <EM>Peter decided to cook breakfast</EM> or <EM>Colleen chose to visit the clowns</EM>. It is marked by addition of - the suffix -<STRONG>aď</STRONG> to a conflational or valence adjunct.</P> + the suffix -<STRONG>aÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -494,7 +494,7 @@ expressions such as <EM>tend to, be apt to</EM>, or <EM>be prone to</EM>, indicating tendency, as in <EM>The wolverine tended to eat platypus eggs</EM>, or <EM>Boris is apt to make a fool of himself when meeting women</EM>. It is marked by addition - of the suffix -<STRONG>eď</STRONG> to a conflational or valence adjunct.</P> + of the suffix -<STRONG>eÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -510,7 +510,7 @@ expressions such as offer to or volunteer to, indicating an act of offering as in <EM>The foreman offered to put poison in my beer</EM>, or <EM>Mrs. Blathermot volunteered to bake artichoke pie for the Open House event</EM>. It is marked by addition of - the suffix -<STRONG>iď</STRONG> to a conflational or valence adjunct.</P> + the suffix -<STRONG>iÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -524,7 +524,7 @@ </DIV> <P align="justify">The <FONT size="2">ACCORDATIVE</FONT> corresponds to the English expression <EM>agree to</EM>, as in <EM>Constance agreed to perform her go-go - number at the talent show</EM>. It is marked by addition of the suffix -<STRONG>oď</STRONG> + number at the talent show</EM>. It is marked by addition of the suffix -<STRONG>oÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -539,9 +539,9 @@ </DIV> <P align="justify">The <FONT size="2">INCLINATIVE</FONT> corresponds to English expressions such as <EM>to feel like</EM> or <EM>be up for</EM>, indicating - an impulsive desire, as in <EM>Hes up for going to the shindig</EM>, + an impulsive desire, as in <EM>Heâs up for going to the shindig</EM>, or <EM>Molly felt like eating the entire chocolate cake</EM>. It is marked by - addition of the suffix -<STRONG>öu</STRONG> to a conflational or valence + addition of the suffix -<STRONG>Ăśu</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -557,7 +557,7 @@ <P align="justify">The <FONT size="2">COMPULSIVE</FONT> corresponds to English expressions such as <EM>feel driven to</EM> or<EM> feel a need to</EM>, indicating compulsion, as in <EM>Jack feels driven to hunt wolverines</EM>, or <EM>My hairdresser - feels a need to date bikers</EM>. It is marked by addition of the suffix -<STRONG>uď</STRONG> + feels a need to date bikers</EM>. It is marked by addition of the suffix -<STRONG>uÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -574,7 +574,7 @@ expressions such as <EM>like to</EM>, or <EM>enjoy</EM>, conveying simple likes and pasttimes as in <EM>Boys like to dream about cars</EM>, or <EM>My salamander enjoyed biting people on their rump</EM>. It is marked by addition of the suffix - -<STRONG>äu</STRONG> to a conflational or valence adjunct.</P> + -<STRONG>äu</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -590,7 +590,7 @@ such as <EM>be devoted to</EM> or <EM>be committed to</EM>, indicating devotion as in <EM>Charlotte is committed to being the best seamstress in town</EM>, or <EM>They were devoted to rooting for the losing team</EM>. It is marked by - addition of the suffix -<STRONG>ëď</STRONG> to a conflational or valence + addition of the suffix -<STRONG>ĂŤÄ</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> @@ -605,7 +605,7 @@ </DIV> <P align="justify">The <FONT size="2">PREFERENTIAL</FONT> corresponds to English expressions such as <EM>prefer</EM>, or <EM>would rather that</EM>, indicating - preference as in <EM>Hed rather work by himself</EM>, or <EM>Muldane + preference as in <EM>Heâd rather work by himself</EM>, or <EM>Muldane prefers that his cats eat live food</EM>. It is marked by addition of the suffix -<STRONG>ua</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> @@ -621,10 +621,10 @@ </DIV> <P align="justify">The <FONT size="2">IMPRESSIONAL</FONT> corresponds to English expressions such as <EM>have an impression that, have a hunch that</EM>, or - <EM>feel that</EM>, indicating a subjective belief or impression as in <EM>Ive + <EM>feel that</EM>, indicating a subjective belief or impression as in <EM>Iâve a hunch that the porter is an alcoholic</EM>, or <EM>Betty feels her husband flirts too much with the secretarial pool</EM>. It is marked by addition of - the suffix -<STRONG>üa</STRONG> to a conflational or valence adjunct.</P> + the suffix -<STRONG>Ăźa</STRONG> to a conflational or valence adjunct.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -640,7 +640,7 @@ expressions such as <EM>promise</EM>, or <EM>swear that</EM>, indicating a self-imposed obligation as in <EM>She promised that her son would visit my daughter</EM>, or <EM>Hargreaves swears that the fish from that lake are sentient</EM>. It - is marked by addition of the suffix -<STRONG>iů</STRONG> to a conflational + is marked by addition of the suffix -<STRONG>iĹŻ</STRONG> to a conflational or valence adjunct.</P> <H3 align="justify"><BR> 5.5.31 Examples of Modality in Use</H3> @@ -701,9 +701,9 @@ </DIV> <P align="justify">Shown by high tone of the conflational, valence or modality adjunct. The <FONT size="2">EQUATIVE</FONT> level indicates that the first party - performs its half of the action equally well in comparison to - the second party. It corresponds to the English construction as [well] - as as in <EM>She sings as well as I do</EM> or <EM>He reads as fast as + performs its âhalfâ of the action equally well in comparison to + the second party. It corresponds to the English construction âas [well] + asâ as in <EM>She sings as well as I do</EM> or <EM>He reads as fast as you do</EM>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -725,7 +725,7 @@ than he), although the <FONT size="2">SURPASSIVE</FONT> is more flexible than the English construction, as it can be used with any of the thirteen valences of the verb. For example, when used with the <FONT size="2">NONRELATIONAL</FONT> - valence for a verb such as laugh, it would translate something + valence for a verb such as âlaugh,â it would translate something like <EM>I laughed more/harder than anyone did anything else</EM>. It can even be used with the <FONT size="2">MONOACTIVE</FONT> valence, indicating that the party performed the action superlatively and no one else did. For example, the @@ -735,7 +735,7 @@ <P align="justify">The <FONT size="2">SURPASSIVE</FONT> can also be used to translate the English -<EM>est</EM> superlative construction, as in <EM>She is the nicest (of all)</EM> by simply naming a contextually universal second participant to - the verb, i.e., <EM>She out-nices everyone else</EM>.</P> + the verb, i.e., <EM>She âout-nicesâ everyone else</EM>.</P> <P align="justify"> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -754,8 +754,8 @@ Like the other levels, it can be used with any valence of the Ithkuil verb to indicate that the performance or state of the first participant to a co-active verb is worse or less than that of the second participant. It would thus render - sentences corresponding to <EM>She under-danced tonight</EM> (i.e., - she didnt dance as well as she might have) or <EM>The boy under-weighs + sentences corresponding to <EM>She âunder-dancedâ tonight</EM> (i.e., + she didnât dance as well as she might have) or <EM>The boy âunder-weighsâ the girl </EM>(i.e., he weighs less than her).</P> <H3 align="justify"><BR> 5.6.5 Examples of Level in Use</H3> @@ -778,10 +778,10 @@ <P align="justify">Virtually all languages allow for sentences to be hierarchically embedded within other sentences, a process termed <STRONG>subordination</STRONG>. In Western languages, the embedded sentence becomes either a subordinate clause - or a relative clause, explicitly introduced by a conjunctions such as that, - which, who, where,although,if,while,whereas, - or a preposition followed by a conjunction, such as through which,by - whom,etc. In English, such clauses can also occur as an infinitive or + or a relative clause, explicitly introduced by a conjunctions such as âthat,â + âwhich,â âwho,â âwhere,ââalthough,ââif,ââwhile,ââwhereas,â + or a preposition followed by a conjunction, such as âthrough which,ââby + whom,âetc. In English, such clauses can also occur as an infinitive or gerundial verb construction. Both relative and subordinate clauses are illustrated in the following sentences:</P> <BLOCKQUOTE> @@ -790,9 +790,9 @@ I want <STRONG>him to stop shouting</STRONG>.<BR> The committee voted <STRONG>to fire the superintendant</STRONG>.<BR> We demand <STRONG>(that) you give us equal pay</STRONG>.<BR> - <STRONG>Although hes a college graduate</STRONG>, he acts like a child.<BR> + <STRONG>Although heâs a college graduate</STRONG>, he acts like a child.<BR> This is the slot<STRONG> through which the letter is passed</STRONG>.<BR> - <STRONG>In case youre unaware</STRONG>, Ill be leaving next + <STRONG>In case youâre unaware</STRONG>, Iâll be leaving next month.<BR> The boy <STRONG>walking toward us</STRONG> is my nephew.</EM></P> </BLOCKQUOTE> @@ -808,7 +808,7 @@ </BLOCKQUOTE> <P align="justify">Suppose we want to use the second sentence to provide a temporal context for the first sentence. In English we could do this by subordinating - the second sentence to the first using the conjunction while, + the second sentence to the first using the conjunction âwhile,â as in <EM>She and I were working together while the two nations were at war</EM>. Alternately, we could create a relative clause by inserting a connecting prepositional phrase, as in <EM>She and I were working together during the time (that) the @@ -816,13 +816,13 @@ <P align="justify">In Ithkuil, temporal context for a sentence may be provided by a noun in any of the temporal cases such as the <FONT size="2">CONCURSIVE</FONT> (see <A href="ithkuil-ch4-case.htm#Sec4o9o1">Sec. 4.9.1</A>). A word - such as summer or famine would be placed in the + such as âsummerâ or âfamineâ would be placed in the <FONT size="2">CONCURSIVE</FONT> case to create a sentence corresponding to:</P> <BLOCKQUOTE> <P align="justify"><EM>She and I were working together during the summer.<BR> She and I were working together at the time of the famine.</EM></P> </BLOCKQUOTE> -<P align="justify">Just as the single words summer and famine +<P align="justify">Just as the single words âsummerâ and âfamineâ are placed in the <FONT size="2">CONCURSIVE</FONT> case, so an entire sentence such as <EM>The two nations were at war</EM> can be placed in the <FONT size="2">CONCURSIVE</FONT> case to provide the temporal context for the main sentence. In other words, @@ -844,7 +844,7 @@ stem vowel and mutation of the C<FONT size="1">2</FONT> radical consonant. Table 17 below offers a review of these mutations for each of the 81 cases. If inserted into the middle of the main sentence, the final word of the case-frame should - be a noun (or a personal reference adjunct see <A href="ithkuil-ch8-adjuncts.htm#Sec8o1">Sec. + be a noun (or a personal reference adjunct â see <A href="ithkuil-ch8-adjuncts.htm#Sec8o1">Sec. 8.1</A>) and carries a special affix which signifies the end of the frame if this will help to avoid confusion as to which words in the sentence belong inside the frame (i.e., with the secondary sentence), and which belong to the main @@ -1389,7 +1389,7 @@ subordinate case-frames will first require us to review the nature of relative clauses in Western languages such as English. </P> <P align="justify">A relative clause refers to an imbedded sentence which modifies - or describes a head noun in the main clause. There are two types + or describes a âheadâ noun in the main clause. There are two types of relative clauses, restricted (or dependent) and unrestricted (or independent). The two types are illustrated in the following English sentences.</P> <P align="justify">RESTRICTED CLAUSE<BR> @@ -1402,10 +1402,10 @@ at any circus.</EM><BR> (4) <EM>That book<STRONG>, which I just finished reading,</STRONG> was written by a priest.</EM></P> -<P align="justify">In the first sentence, the clause that like chasing - their tails refers to a specific type of lion found at a circus (i.e, - not all lions chase their tails). Similarly, the clause (that) I just - finished reading in the second sentence is restricted in that it is considered +<P align="justify">In the first sentence, the clause âthat like chasing + their tailsâ refers to a specific type of lion found at a circus (i.e, + not all lions chase their tails). Similarly, the clause â(that) I just + finished readingâ in the second sentence is restricted in that it is considered by the speaker as being necessary in order to identify which book is being talked about, i.e., without the clause, the listener would not know which book the speaker was referring to.</P> @@ -1416,8 +1416,8 @@ known to the listener, and the speaker is merely providing two additional facts about it: the fact that he just finished reading it and the fact about its author. Notice that in English, an unrestricted relative clause is set off in writing - by commas and cannot begin with that (rather which - or who must be used); also, such clauses are normally spoken in + by commas and cannot begin with âthatâ (rather âwhichâ + or âwhoâ must be used); also, such clauses are normally spoken in a lowered intonation with juncture (i.e., brief pauses) immediately before and after the clause.</P> <P align="justify"><BR> @@ -1431,28 +1431,28 @@ book.)<BR> I just finished reading that book.</EM></P> <P align="justify"> In Ithkuil, the sentence which will be functioning as the - main sentence acts as a template in which the secondary sentence + main sentence acts as a âtemplateâ in which the secondary sentence is placed. The particular place in the template to be filled is dependent on what semantic role, i.e., case (see <A href="ithkuil-ch4-case.html" target="mainFrame">Chapter 4</A>) the secondary sentence is to fill. Note that the common point of reference - of the two sentences is that book. In the main sentence, that - book functions in the semantic role of CONTENT (See <A href="ithkuil-ch4-case.htm#Sec4o1o2">Sec. + of the two sentences is âthat book.â In the main sentence, âthat + bookâ functions in the semantic role of CONTENT (See <A href="ithkuil-ch4-case.htm#Sec4o1o2">Sec. 4.1.2</A>), superficially equivalent to the direct object of the <FONT size="2">ABSOLUTIVE</FONT> - subject priest, therefore, the main sentence becomes the template - A priest wrote X where X is in the <FONT size="2">OBLIQUE</FONT> + subject âpriestâ, therefore, the main sentence becomes the template + âA priest wrote Xâ where X is in the <FONT size="2">OBLIQUE</FONT> case (See <A href="ithkuil-ch4-case.htm#Sec4o3o1">Section 4.3.1</A>). Meanwhile, in the secondary sentence, the noun which is the common point of - reference (what in Western grammar would be called the head of + reference (what in Western grammar would be called the âheadâ of the relative clause) is marked with an affix indicating such. So we now have the two sentences as:</P> <BLOCKQUOTE> <P align="justify">A priest wrote [ ]. I just finish reading that book-<FONT size="2">H</FONT>. </P> </BLOCKQUOTE> -<P align="justify">The -<FONT size="2">H</FONT> in the second sentence - above is meant to represent an affix marking the head or common +<P align="justify">The â-<FONT size="2">H</FONT>â in the second sentence + above is meant to represent an affix marking the âheadâ or common reference point between the two sentences. At this point, Ithkuil inserts the - second sentence as a case-frame into the empty slot based on the + second sentence as a case-frame into the empty âslotâ based on the semantic role it will be playing, in this instance the role of CONTENT marked by the OBLIQUE case (see <A href="ithkuil-ch4-case.htm#Sec4o3o1">Sec. 4.3.1</A>).</P> @@ -1470,10 +1470,10 @@ <P align="justify">Reverse translating this sentence back to English, the closest literal translation would be the rather awkward construction: <EM>A priest wrote what I just finished reading, that book</EM>. However, this is how Ithkuil translates - the English sentence A priest wrote that book that I just finished reading.</P> + the English sentence âA priest wrote that book that I just finished reading.â</P> <P align="justify">Two observations can be noted from the Ithkuil sentence. First - of all, unlike Western languages, the main clause contains no head. - Instead, the head is marked from within the imbedded clause. Secondly, + of all, unlike Western languages, the main clause contains no âhead.â + Instead, the âheadâ is marked from within the imbedded clause. Secondly, there is no difference between this process and the rendering of other types of subordinate clauses using case-frames, as the main sentence was rearranged (or reinterpreted) to provide a slot for the semantic role of the imbedded sentence, @@ -1508,13 +1508,13 @@ Relative Clauses</STRONG>. In <A href="ithkuil-ch4-case.htm#Sec4o5o3">Section 4.5.3</A> we analyzed how <FONT size="2">MONADIC</FONT> or <FONT size="2">UNBOUNDED</FONT> nouns in the <FONT size="2">INHERENT</FONT> case take on a special function - of existential identification corresponding to the English phrase that/which/who - is/are
to render forms structured as the my-wife woman, - meaning the woman who is my wife. This construction allows a short-cut + of existential identification corresponding to the English phrase âthat/which/who + is/areâŚâ to render forms structured as âthe my-wife woman,â + meaning âthe woman who is my wife.â This construction allows a âshort-cutâ way of rendering what in English would be simple relative clauses involving descriptive identifications, eliminating the need in most cases to resort to a case-frame. For example, the sentence <EM>The man who came to dinner is my - father</EM> is rendered as <EM>The my-father man came to dinne</EM>r, + father</EM> is rendered as <EM>The âmy-fatherâ man came to dinne</EM>r, where the noun father would be in the <FONT size="2">INHERENT</FONT> plus <FONT size="2">POSITIVE </FONT>focus<FONT size="2"> </FONT> (see <A href="ithkuil-ch3-morphology.htm#Sec3o5">Sec. 3.5</A>) to indicate that it is the new information being conveyed by the speaker, @@ -1588,7 +1588,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="justify"> </P> diff --git a/2004-en-alt/ithkuil-ch6-verb-morphology3.html b/2004-en-alt/ithkuil-ch6-verb-morphology3.html index 26ef5c8..fe38101 100755..100644 --- a/2004-en-alt/ithkuil-ch6-verb-morphology3.html +++ b/2004-en-alt/ithkuil-ch6-verb-morphology3.html @@ -104,7 +104,7 @@ represents either a single vowel, diphthong, or dissyllabic two-vowel combination (e.g., -ia-, -ua-); and <STRONG>Cx</STRONG> represents a single- or dual-consonant conjunct (e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">-k-, -tt-, - -p-</FONT></STRONG>). Not all parts of this archetypical structure may + -ĹĄp-</FONT></STRONG>). Not all parts of this archetypical structure may manifest themselves in any given aspectual adjunct. For example, some adjuncts may show only aspect or mood, some show validation or phase only, or any combination of these categories. These variations are described below.</P> @@ -122,7 +122,7 @@ into eight additional forms depending on which of nine sanctions applies to the associated verb (see <A href="ithkuil-ch6-moreverbs.htm#Sec6o3">Sec. 6.3</A> below on Sanction). These affixes are shown in Table 18 below. Examples. <STRONG><FONT face="Arial, Helvetica, sans-serif">ar, - ac, axx, aks, akká, amra<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></FONT></STRONG>.<BR> + ac, axx, aks, akkĂĄ, amra<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></FONT></STRONG>.<BR> </LI> <LI>If an aspectual adjunct shows a single aspect, it takes the form <STRONG>V<FONT size="1">A</FONT> + Cx (+ a)</STRONG>, where Va is the vocalic aspectual prefix followed by @@ -134,7 +134,7 @@ + Cx + Vs</STRONG>, that is two aspectual vowel forms, the first in as a prefix, the second as a suffix, separated by the validation-phase-sanction consonantal affix. Examples: <STRONG> <FONT face="Arial, Helvetica, sans-serif">eurai, - ňksëi, iakkua</FONT></STRONG>. </LI> + ĹksĂŤi, iakkua</FONT></STRONG>. </LI> </OL> </DIV> <P align="justify">Having explained the structure of the aspectual adjunct, we @@ -149,17 +149,17 @@ </TBODY></TABLE> <P align="justify">Technically, Validation expresses the degree or type of evidence supporting a statement, a grammatical requirement of Ithkuil. Such categories - are usually termed evidentials or factives in various + are usually termed âevidentialsâ or âfactivesâ in various non-Western languages which have them. However, Validation imparts more than simply the evidential verifiability of a statement; it also operates in conjunction with Mood (see <A href="ithkuil-ch6-moreverbs.htm#Sec6o5">Section 6.5</A> below) to indicate the precise factuality of a statement, i.e., to what extent it is likely or certain that the statement is, in fact, valid or real. We will see that Ithkuil moods generally indicate the factuality of a statement as being either certain or uncertain. - Validation in turn fine tunes this distinction into levels of + Validation in turn âfine tunesâ this distinction into levels of nuance, corresponding to various English phrases which convey the specific validity - of a statement, e.g., must be so, likely that, unlikely, perhaps, supposedly, - presumably, apparently etc. The nine validations are <FONT size="2">CONFIRMATIVE, + of a statement, e.g., âmust be so, likely that, unlikely, perhaps, supposedly, + presumably, apparentlyâ etc. The nine validations are <FONT size="2">CONFIRMATIVE, REPORTIVE, INTUITIVE, INFERENTIAL, PRESUMPTIVE, CONJECTURAL, TENTATIVE, PUTATIVE</FONT> and <FONT size="2">HORTATIVE</FONT>. As explained above, they are shown in conjunction with the categories of Phase and Sanction (see <A href="ithkuil-ch6-moreverbs.htm#Sec6o2">Secs. 6.2</A> @@ -168,7 +168,7 @@ The specific usage of each validation is explained following the tables.</P> <P align="center"><BR> <STRONG><FONT face="Arial, Helvetica, sans-serif"><A name="Table18"></A>Tables - 18 (a </FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG> + 18 (a </FONT></STRONG><FONT face="Arial, Helvetica, sans-serif">â<STRONG> i): Cx Affixes By Validation, Phase and Sanction</STRONG></FONT></P> <P><BR> <FONT face="Arial, Helvetica, sans-serif"><STRONG>Table 18(a): Cx Affixes for @@ -218,7 +218,7 @@ </DIV> <P align="justify">The <FONT size="2">CONFIRMATIVE</FONT> indicates that a statement is based on facts actually perceived by and/or personally known to the speaker. - It can be considered the default validation, in that it can be + It can be considered the âdefaultâ validation, in that it can be unmarked (i.e., the aspectual adjunct can be deleted) if the other categories shown by the adjunct are likewise in their default modes and there is no aspect being conveyed.<BR> @@ -236,10 +236,10 @@ <P align="justify">The <FONT size="2">REPORTIVE</FONT> validation indicates that the statement, while not personally known or perceived by the speaker, is assumed true based on evidence considered trustworthy by the speaker, such as direct - testimony of a trusted party or knowledgeable source based on that partys - or sources personal knowledge or observation. If necessary, this degree - of factivity can be translated into English by the terms most likely - or probably.<BR> + testimony of a trusted party or knowledgeable source based on that partyâs + or sourceâs personal knowledge or observation. If necessary, this degree + of factivity can be translated into English by the terms âmost likelyâ + or âprobably.â<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -252,9 +252,9 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">INTUITIVE</FONT> validation indicates that - the statement is based on the speakers own intuition, instinct or gut - feeling. This can be translated by English phrases such as I feel that
- or Ive got a feeling that
.<BR> + the statement is based on the speakers own intuition, instinct or âgutâ + feeling. This can be translated by English phrases such as âI feel thatâŚâ + or âIâve got a feeling thatâŚ.â<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -268,8 +268,8 @@ </DIV> <P align="justify">The <FONT size="2">INFERENTIAL</FONT> validation indicates that the statement is essentially an inference by the speaker based on circumstantial - evidence only. This can be conveyed in translation by phrases such as (it) - must (be that)
, or must have as in the sentences + evidence only. This can be conveyed in translation by phrases such as â(it) + must (be that)âŚ,â or âmust haveâ as in the sentences <EM>I must be dreaming</EM> or <EM>It must have rained last night</EM>.<BR> </P> <DIV align="justify"> @@ -286,8 +286,8 @@ that the statement is hearsay whose validity is assumed true based on the absence of a motive for deception on the part of the speaker, and the fact that the statement is potentially verifiable. If necessary, this degree of factivity - can be translated by the English phrases presumably (so) or apparently - (so).<BR> + can be translated by the English phrases âpresumably (so) or âapparently + (so).â<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -303,8 +303,8 @@ that the statement is hearsay whose validity is assumed true based on the absence of a motive for deception on the part of the speaker, however its verifiability is either unlikely or unknown. Perhaps most easily translated into English simply - by may or might, or more exactly by allegedly - or purportedly.<BR> + by âmayâ or âmight,â or more exactly by âallegedlyâ + or âpurportedly.â<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -320,7 +320,7 @@ the statement is hearsay whose validity is assumed false due to untrustworthiness or unreliability of the source, or a motive for deception on the part of the speaker; however, the statement is potentially verifiable. Can be approximately - translated by English supposedly.<BR> + translated by English âsupposedly.â<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -336,8 +336,8 @@ the statement is hearsay whose validity is assumed false due to untrustworthiness or unreliability of the source or a motive for deception on the part of the speaker, and verifiability of the statement is either unlikely or unknown. Can - be approximately translated by English must not (have)
, - must not be
, or not likely to
. Thus + be approximately translated by English âmust not (have)âŚ,â + âmust not beâŚ,â or ânot likely toâŚ.â Thus the sentence overtly structured as <EM>He caught the bus in time</EM> but marked for the <FONT size="2">PUTATIVE</FONT> would actually translate as <EM>He must not have caught the bus in time</EM>.<BR> @@ -354,8 +354,8 @@ </DIV> <P align="justify">The <FONT size="2">HORTATIVE</FONT> validation indicates that the validity of the statement is assumed false but that the speaker wishes it - to be true. It corresponds to various exhortations such as if only
, - I wish that
or Were that
.</P> + to be true. It corresponds to various exhortations such as âif onlyâŚ,â + âI wish thatâŚâ or âWere thatâŚ.â</P> <H3 align="justify"><BR> 6.1.10 Examples of Validation in Use</H3> <DIV align="justify"> @@ -406,7 +406,7 @@ instantaneous), single holistic occurrence considered once, where the actual duration of the occurrence is not relevant in the particular context. It can be visually represented along a progressive timeline by a short dash, e.g., - <STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">â</FONT></STRONG><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -422,7 +422,7 @@ or event which is point-like, momentary or instantaneous in nature, such as an explosion, a flash of lightning, a blow, a single handclap, a collision between two objects, a stab of pain, a single cough, the clicking of a lock, etc. It - can be visually represented along a timeline by a single point, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif"></FONT></STRONG><BR> + can be visually represented along a timeline by a single point, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">â˘</FONT></STRONG><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -439,8 +439,8 @@ itself in a rapid, on/off, staccato manner, like a machine gun burst, strobe light burst, an alarm bell ringing, or the quick unconscious tapping of a finger, the whole comprising a single <FONT size="2">CONTEXTUAL</FONT> event. </P> -<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG> - </STRONG></FONT></P> +<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG>⢠+ ⢠⢠â˘</STRONG></FONT></P> <P align="justify"></P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -456,8 +456,8 @@ brief event of indeterminate or vague duration (i.e., as with the <FONT size="2">CONTEXTUAL</FONT> phase above), but repeated in an on/off staccato manner, like a car horn being honked repeatedly in a fast steady rhythm, or an automatic machine press. Visual - representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG> - </STRONG></FONT><BR> + representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG>â â + â â</STRONG></FONT><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -476,9 +476,9 @@ be used in describing the downbeat pattern of a pop song, the ongoing snapping of fingers to music, the steady one-drop-at-a-time dripping of a faucet, etc. </P> -<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT> - <FONT color="#FFFFFF"></FONT> <FONT color="#FFFFFF"></FONT> - <FONT color="#FFFFFF"></FONT> </STRONG></FONT><BR> +<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT> + ⢠<FONT color="#FFFFFF">â</FONT> ⢠<FONT color="#FFFFFF">â</FONT> + ⢠<FONT color="#FFFFFF">â</FONT> â˘</STRONG></FONT><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -496,11 +496,11 @@ where the duration between occurrences is relatively long and contextually relevant. Exemplified by the sounding of a foghorn, or the ongoing hooting of an owl. </P> -<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - </STRONG></FONT><BR> +<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT><FONT color="#FFFFFF">â</FONT> + â<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT> + â<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT> + â<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT> + â</STRONG></FONT><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -517,14 +517,14 @@ the whole considered as a single <FONT size="2">CONTEXTUAL</FONT> event. Examples would be the repetitive sets of hammerings of a woodpecker or the repeated short bursts of a jackhammer.</P> -<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - </STRONG></FONT><BR> +<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT>⢠+ ⢠â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>⢠⢠+ â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>⢠⢠+ â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>⢠⢠+ ⢠</STRONG></FONT><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -539,15 +539,15 @@ <P align="justify">The <FONT size="2">FRAGMENTATIVE</FONT> indicates a random pattern of punctual occurrences, the whole considered as a single <FONT size="2">CONTEXTUAL</FONT> event. </P> -<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT color="#FFFFFF"></FONT></STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT><BR> +<P align="justify">Visual representation: <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT>⢠+ â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + ⢠â˘</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> + ⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT>⢠+ ⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT>⢠+ </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>⢠⢠+ ⢠â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT color="#FFFFFF">â</FONT></STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> + ⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT>⢠+ ⢠</STRONG></FONT><BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -560,19 +560,19 @@ </TBODY></TABLE> </DIV> <P align="justify">The <FONT size="2">FLUCTUATIVE</FONT> indicates a random pattern - of both punctual and longer occurrences. An example would be the sputtering + of both punctual and longer occurrences. An example would be the âsputteringâ of a lighted fuse, the random patterns of tongues of flames, the chirping of birds in the wild, etc. </P> -<P align="justify">Visual representation:<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG> <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT></STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG> </STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"></FONT> <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG> </STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - <FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF"></FONT></STRONG></FONT> - </STRONG></FONT> <FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT> - </STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></P> +<P align="justify">Visual representation:<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT>â + ⢠â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG> â<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT></STRONG></FONT> + â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG> â</STRONG></FONT> + â˘</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG> â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + <FONT face="Arial, Helvetica, sans-serif"></FONT> â<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT>⢠+ ⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG>â </STRONG></FONT>⢠+ ⢠⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT>⢠+ â˘<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT color="#FFFFFF">â</FONT></STRONG></FONT> + â</STRONG></FONT>â ⢠<FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT> + ⢠â˘</STRONG></FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></P> <P align="justify"> </P> <H3 align="justify">6.2.10 Examples of Phase in Use</H3> <DIV align="justify"> @@ -624,7 +624,7 @@ of the Cx affix. It is the default sanction, indicating the utterance represents a neutral proposition or assertion of ontologically objective fact, i.e., a statement of fact irrespective of third-party opinion, belief, or interpretation. - Example of such statements would be <EM>That is a mountain</EM>, or <EM>Im + Example of such statements would be <EM>That is a mountain</EM>, or <EM>Iâm hungry</EM>.<BR> </P> <DIV align="justify"> @@ -656,7 +656,7 @@ </DIV> <P align="justify">The <FONT size="2">ALLEGATIVE</FONT> identifies an utterance as an ontologically subjective assertion or allegation, i.e., a proposition - expressing ones opinion, belief, or interpretation, open to challenge + expressing oneâs opinion, belief, or interpretation, open to challenge or refutation. Examples would be <EM>That mountain is beautiful</EM> or <EM>No one in the United States goes hungry</EM>.<BR> </P> @@ -674,7 +674,7 @@ as a rebuttable presumption, i.e., an assertion, whether ontologically objective or by convention, that is to be assumed true unless and until rebutted by a sufficient counter-argument or other evidence. Examples would be <EM>He knows - how to drive</EM> [e.g., because he owns a car] or <EM>She cant be hungry + how to drive</EM> [e.g., because he owns a car] or <EM>She canât be hungry now</EM> [e.g., because I saw her come out of the restaurant]. <BR> </P> <DIV align="justify"> @@ -771,9 +771,9 @@ </TBODY></TABLE> </DIV> <P align="justify">Aspect provides detailed and specific temporal information - about the verb, not in relation to the speakers present moment of utterance + about the verb, not in relation to the speakerâs present moment of utterance (as with Perspective in <A href="ithkuil-ch3-morphology.htm#Sec3o3">Sec. - 3.3</A>), but rather in relation to the contextual present of + 3.3</A>), but rather in relation to the contextual âpresentâ of the act, condition, or event being spoken about. There are 32 aspects, each shown by a vocalic prefix to an aspectual adjunct. A second aspect may be shown by a vocalic suffix. For the most part, they translate various common adverbial @@ -805,23 +805,23 @@ with an Ithkuil verb; however, where there is no modality, the verb displays conflation (see <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1">Sec. 5.4.1</A>) but no derivation, and the version and valence have default values, the conflation - adjunct can be eliminated and the verbs format can be indicated by forms - 1 through 8 of the aspect prefix to the verbs aspectual adjunct. Thus, + adjunct can be eliminated and the verbâs format can be indicated by forms + 1 through 8 of the aspect prefix to the verbâs aspectual adjunct. Thus, in the sentence <IMG src="assets/6-4-2c.gif" width="108" height="16" align="absmiddle">, the conflation adjunct <IMG src="assets/6-4-2d.gif" width="15" height="17" align="absmiddle"> indicating <FONT size="2">INSTRUMENTATIVE</FONT> format for the <FONT size="2">ACTIVE</FONT> conflation shown by the main verb, can instead be shown by changing the prefix - <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT>- - on the aspectual adjunct to <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>wâ</STRONG></FONT>- + <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT>- + on the aspectual adjunct to <FONT size="2" face="Arial, Helvetica, sans-serif"><STRONG>wâ</STRONG></FONT>- and eliminating the conflation adjunct, thus:</P> <P align="justify"><IMG src="assets/6-4-2a.gif" width="126" height="30"><BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif">Wâloi uatumul.</FONT></STRONG><BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif">Wâloi uatumul.</FONT></STRONG><BR> <IMG src="assets/6-4-2b.gif" width="212" height="16" align="absbottom"> <BR> - <EM>The motion being caused by means of an asteroid is indeed recurring</EM> + â<EM>The motion being caused by means of an asteroid is indeed recurring</EM>â <STRONG><FONT size="2">OR</FONT></STRONG><BR> - <EM>Whats indeed happening is a recurrence of motion using an - asteroid</EM>.</P> + â<EM>Whatâs indeed happening is a recurrence of motion using an + asteroid</EM>.â</P> <H3 align="justify"><BR> 6.4.3 Explanation of Aspect Categories</H3> <P align="justify">The thirty-two aspectual categories are explained below. </P> @@ -836,11 +836,11 @@ </TBODY></TABLE> This aspect operates in conjunction with Perspective (see Sec. 3.3) to create various equivalents to Western tense categories. With the <FONT size="2">MONADIC</FONT>, - the <FONT size="2">RETROSPECTIVE</FONT> can be translated by English have - already as in Ive already done it. With the <FONT size="2">UNBOUNDED</FONT>, + the <FONT size="2">RETROSPECTIVE</FONT> can be translated by English âhave + alreadyâ as in Iâve already done it. With the <FONT size="2">UNBOUNDED</FONT>, the <FONT size="2">RETROSPECTIVE</FONT> is equates with the English simple past tense. With the <FONT size="2">NOMIC</FONT> and <FONT size="2">ABSTRACT</FONT>, - it adds a sense of and its always been that way to the + it adds a sense of âand itâs always been that wayâ to the verb. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -855,10 +855,10 @@ conjunction with Perspective to create various equivalents to Western tense categories. With the <FONT size="2">MONADIC</FONT>, the <FONT size="2">PROSPECTIVE</FONT> equates with the English future tense. With the <FONT size="2">UNBOUNDED</FONT>, - it can be translated by the English future perfect (i.e., will have
). + it can be translated by the English future perfect (i.e., âwill haveâŚâ). With the <FONT size="2">NOMIC</FONT> and <FONT size="2">ABSTRACT</FONT>, it - adds a sense of and itll always be that way or from - now on to the verb. <BR> + adds a sense of âand itâll always be that wayâ or âfrom + now onâ to the verb. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -869,8 +869,8 @@ </TR> </TBODY></TABLE> When used with the <FONT size="2">MONADIC</FONT> perspective, this aspect conveys - the idea of always or continues to, while with the - <FONT size="2">UNBOUNDED</FONT>, the English used to construction + the idea of âalwaysâ or âcontinues toâ, while with the + <FONT size="2">UNBOUNDED</FONT>, the English âused toâ construction offers an equivalent translation, as in <EM>She used to come see me on Wednesdays</EM>.<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -882,7 +882,7 @@ </TR> </TBODY></TABLE> This aspect conveys the idea of an act in progress, similar to the English construction - in the midst of [verb] + ing or the use of the present participle + âin the midst of [verb] + ingâ or the use of the present participle in Spanish. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -894,7 +894,7 @@ </TR> </TBODY></TABLE> Conveys that an action, state or event is imminent. Translates phrases such - as (just) about to or on the verge of as in <EM>I + as â(just) about toâ or âon the verge ofâ as in <EM>I think Carl is about to cry</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -906,7 +906,7 @@ </TR> </TBODY></TABLE> Conveys that an action, state or event has immediately preceded. Translates - such phrases as just or just now, as in <EM>We just + such phrases as âjustâ or âjust now,â as in <EM>We just saw a clown in the toy store</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -919,8 +919,8 @@ </TBODY></TABLE> Conveys the idea of participation or involvement in an action, state, or event over an amount of time extending from the past into the future relative to the - contextual present. Translates English phrases such as engaged in - or involved in as in Her husband is engaged in construction of + contextual present. Translates English phrases such as âengaged inâ + or âinvolved inâ as in Her husband is engaged in construction of the new bridge. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -931,10 +931,10 @@ <TD width="63%"><STRONG><FONT size="2">EXPERIENTIAL</FONT></STRONG></TD> </TR> </TBODY></TABLE> - Translates English ever in the sense of within the realm - of ones experience or at some point in ones experience, + Translates English âeverâ in the sense of âwithin the realm + of oneâs experienceâ or âat some point in oneâs experience,â as in <EM>Does he ever shut up?</EM> Note the <FONT size="2">EXPERIENTIAL</FONT> - does not equate to ever when it means always, as + does not equate to âeverâ when it means âalways,â as in <EM>Ever does he seek his destiny</EM> nor as an adverb of mere emphasis as in <EM>Was she ever tired</EM>. <BR> <BR> @@ -959,7 +959,7 @@ </TR> </TBODY></TABLE> Conveys the idea of cessation of an event, state or action. Translates English - phrases such as stop, discontinue, or cease, + phrases such as âstop,â âdiscontinue,â or âcease,â as in T<EM>hey stopped dancing at midnight</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -983,8 +983,8 @@ </TR> </TBODY></TABLE> Indicates a pause in an action, state or event, with an implied intention to - resume. Translates phrases such as take a break from or pause - in as in <EM>Mother took a break from cleaning to </EM><EM>gossip with + resume. Translates phrases such as âtake a break fromâ or âpause + inâ as in <EM>Mother took a break from cleaning to </EM><EM>gossip with her friends</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -997,7 +997,7 @@ </TBODY></TABLE> Conveys the idea of a return to an original or previous action, state or event after a long hiatus involving an intervening change of state or situation, as - translated by the phrase return to. The <FONT size="2">REGRESSIVE</FONT> + translated by the phrase âreturn to.â The <FONT size="2">REGRESSIVE</FONT> should be distinguished from the <FONT size="2">RESUMPTIVE</FONT> above, which merely implies the restarting after a stop or pause without an intervening change of state or situation. An example would be <EM>Mr. Yates returned to golf after @@ -1012,8 +1012,8 @@ </TR> </TBODY></TABLE> Conveys the fact that an action, state, or event takes place from inception - to conclusion all in one contextual segment, translating such phrases as all - at once, all in one go, without stopping, + to conclusion all in one contextual segment, translating such phrases as âall + at once,â âall in one go,â âwithout stopping,â etc. as in <EM>Walter drank the entire bottle in one gulp</EM>.<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1025,11 +1025,11 @@ </TR> </TBODY></TABLE> Conveys the idea that an action, event, or state continues on. Translates phrases - such as keep on, still, stay, yet, - etc. When used in a negative sentence, conveys the idea of English no - longer or not anymore as in <EM>She kept on singing, Youre - still staring at me, Ive yet to meet him, Sam no longer loves you / Sam - doesnt love you anymore</EM>.<BR> + such as âkeep on,â âstill,â âstay,â âyet,â + etc. When used in a negative sentence, conveys the idea of English âno + longerâ or ânot anymoreâ as in <EM>She kept on singing, Youâre + still staring at me, Iâve yet to meet him, Sam no longer loves you / Sam + doesnât love you anymore</EM>.<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1040,8 +1040,8 @@ </TR> </TBODY></TABLE> Conveys that an action, state or event continues on without stopping. Translates - such English adverbials as
on and on or
away - as in <EM>They danced the night away</EM> or <EM>Theyve been battling + such English adverbials as ââŚon and onâ or ââŚawayâ + as in <EM>They danced the night away</EM> or <EM>Theyâve been battling on and on since last year</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1053,10 +1053,10 @@ </TR> </TBODY></TABLE> Emphasizes the singularity and initial occurrence an action, state or event, - as translated by such English phrases as for once or just - once, as well as the anticipation preceding a long-expected situation, - as translated by phrases such as at last, after all this - time, finally, and for the first time. <BR> + as translated by such English phrases as âfor onceâ or âjust + once,â as well as the anticipation preceding a long-expected situation, + as translated by phrases such as âat last,â âafter all this + time,â âfinally,â and âfor the first time.â <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1067,7 +1067,7 @@ </TR> </TBODY></TABLE> Emphasizes the finality of an action, state or event, as translated by such - English phrases as once and for all or for the last time. + English phrases as âonce and for allâ or âfor the last time.â <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1095,9 +1095,9 @@ </TBODY></TABLE> Conveys that an action, state or event is being considered or is applicable only to the present subjective context or range of the contextual present, as - translated by phrases such as for the time being or but - only for the moment or for now as in <EM>This will be sufficient - for now</EM> or <EM>For the time being youll have to drink water</EM>. + translated by phrases such as âfor the time beingâ or âbut + only for the momentâ or âfor nowâ as in <EM>This will be sufficient + for now</EM> or <EM>For the time being youâll have to drink water</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1110,8 +1110,8 @@ </TBODY></TABLE> Conveys that an action, state or event involves physical removal or absence of the participant from the present context of discourse. Translates such phrases - as be off
-ing or go off to
as in - <EM>Dads off hunting</EM> or <EM>They went off to cavort with the clowns</EM>. + as âbe off âŚ-ingâ or âgo off to âŚâ as in + <EM>Dadâs off hunting</EM> or <EM>They went off to cavort with the clowns</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1124,7 +1124,7 @@ </TBODY></TABLE> This aspect conveys the idea of proceeding or engaging in an action or event despite the possibility of adverse consequences. It translates the English phrases - such as go ahead and or anyway, as in <EM>She went + such as âgo ahead andâ or âanyway,â as in <EM>She went ahead and bought the furniture</EM> or <EM>I decided to go there anyway</EM>. <BR> <BR> @@ -1136,10 +1136,10 @@ <TD width="63%"><STRONG><FONT size="2">SEQUENTIAL</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This aspect conveys the idea a sequential progressive in which + This aspect conveys the idea a âsequential progressiveâ in which a series of contextually identical instances is seen as comprising a single event, usually with an implied culmination point. It translates the English - use of off as in <EM>He's checking off each item as it is inventoried</EM>, + use of âoffâ as in <EM>He's checking off each item as it is inventoried</EM>, or <EM>The sheep died off from the disease</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1151,7 +1151,7 @@ </TR> </TBODY></TABLE> Conveys a sense of haste associated with an action or event. Translates English - hurry (up) as in <EM>Hurry up and finish</EM> or <EM>They ate + âhurry (up)â as in <EM>Hurry up and finish</EM> or <EM>They ate in a hurry</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1163,8 +1163,8 @@ </TR> </TBODY></TABLE> Focuses on the revelatory nature of an action, state or event, translating phrases - such as turn out to be, turn out that
and - be revealed that
. <BR> + such as âturn out to be,â âturn out thatâŚâ and + âbe revealed thatâŚ.â <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1175,8 +1175,8 @@ </TR> </TBODY></TABLE> Conveys the direct outcome of an action, state or event within the short-term - context of the situation at hand. Translates phrases such as end up
, - come to, reach the point where, as in <EM>I ended up crashing the car</EM> + context of the situation at hand. Translates phrases such as âend upâŚ, + come to, reach the point where,â as in <EM>I ended up crashing the car</EM> or <EM>He drank to the point where he passed out</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1190,7 +1190,7 @@ Similar to the <FONT size="2">CONCLUSIVE</FONT> above, but with a focus on the eventual, long-term outcome over an extended period of time or through a series of developmental steps. Compare the following examples with the <FONT size="2">CONCLUSIVE</FONT> - aspect above: <EM>In the end, Ill have to leave town; Things got to the + aspect above: <EM>In the end, Iâll have to leave town; Things got to the point where the mayor got involved; Eventually, they fell in love</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1203,8 +1203,8 @@ </TBODY></TABLE> Conveys the idea that the action, state, or event takes place at some point along the timeline of, or within the duration of, another action, state, event, - or background context, as translated by the phrases at some point - or somewhere along the way
. <BR> + or background context, as translated by the phrases âat some pointâ + or âsomewhere along the wayâŚ.â <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1217,8 +1217,8 @@ Conveys the idea that an action, state, or event lessens, dwindles, or slackens in energy, intensity, or effect, impliedly by exhaustion of the active source of energy or agency, or by dissipation of the foundational context involved. - Translates such phrases as to get tired of, peter out, - trail off, etc. <BR> + Translates such phrases as âto get tired of,â âpeter out,â + âtrail off,â etc. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1229,9 +1229,9 @@ </TR> </TBODY></TABLE> Focuses on the initial stage of preparation, adjustment, or accustomization - to an action, state or event, translated by phrases such as take up, - start to, etc. implying a long-term process of initialization, - as in <EM>Im planning to take up golf</EM>. <BR> + to an action, state or event, translated by phrases such as âtake up,â + âstart to,â etc. implying a long-term process of initialization, + as in <EM>Iâm planning to take up golf</EM>. <BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1241,9 +1241,9 @@ <TD width="63%"><STRONG><FONT size="2">INTERCOMMUTATIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - Conveys the idea of sequential reciprocity, meaning that the action + Conveys the idea of âsequential reciprocity,â meaning that the action or event is a consequent reciprocation triggered by, or in reaction to, an initiating - action or event. It translates the English verbal particle back + action or event. It translates the English verbal particle âbackâ as in <EM>The boy threw it back</EM> or <EM>She stared back at the men ogling her</EM>. <BR> <BR> @@ -1256,47 +1256,47 @@ </TR> </TBODY></TABLE> Conveys an all-consuming action, state, or event which interferes with or prevents - other events from occurring. It translates English phrases such as spend - ones time or away as in <EM>Mother spends her life - worrying</EM> or <EM>Hes pining away</EM>. </DIV> + other events from occurring. It translates English phrases such as âspend + oneâs timeâ or âawayâ as in <EM>Mother spends her life + worrying</EM> or <EM>Heâs pining away</EM>. </DIV> <H3 align="justify"><BR> 6.4.4 Complementary Aspects Appearing in the Same Adjunct</H3> <P align="justify">Note that, while any aspectual adjunct can show two different aspects, several aspect categories above operate as complements to each other. For example, the <FONT size="2">PROSPECTIVE</FONT> aspect complements the <FONT size="2">RETROSPECTIVE</FONT> aspect, both being essentially opposites. Such complementary aspects normally - dont appear in the same adjunct together. If they do appear in the same + donât appear in the same adjunct together. If they do appear in the same adjunct, they are interpreted as not applying to the same verb, i.e., the first aspect (shown by the prefix) applies to the adjacent verb, while the second aspect (shown by the suffix) applies to the next verb in the sentence. Such combinations of complementary aspects within a single adjunct can be considered - an optional shortcut to utilizing a separate aspectual adjunct + an optional âshortcutâ to utilizing a separate aspectual adjunct with the second verb.</P> <H3 align="justify"><BR> <A name="Sec6o4o5"></A>6.4.5 Using Aspect Prefixes to Show Focus</H3> <P align="justify">All of the aspectual prefixes shown in <A href="ithkuil-ch6-moreverbs.htm#Table19">Table 19 above</A> can in turn take an initial prefix <FONT face="Arial, Helvetica, sans-serif"><STRONG>y</STRONG></FONT>- - (or <FONT face="Arial, Helvetica, sans-serif"><STRONG>yď</STRONG></FONT>- + (or <FONT face="Arial, Helvetica, sans-serif"><STRONG>yÄ</STRONG></FONT>- before a <STRONG><FONT face="Arial, Helvetica, sans-serif">w</FONT></STRONG>-) to show that the associated verbal formative has semantic focus (as described in <A href="ithkuil-ch3-morphology.htm#Sec3o5">Sec. 3.5</A>), i.e., it is an alternate to the usual -<FONT face="Arial, Helvetica, sans-serif"><STRONG>w</STRONG></FONT>- - infix to the formative previously described in Sec. 3.5. Examples: <FONT face="Arial, Helvetica, sans-serif"><STRONG>ęstiu - <IMG src="assets/arrow.gif" width="17" height="9"> yęstiu, + infix to the formative previously described in Sec. 3.5. Examples: <FONT face="Arial, Helvetica, sans-serif"><STRONG>Ästiu + <IMG src="assets/arrow.gif" width="17" height="9"> yÄstiu, iwuil <IMG src="assets/arrow.gif" width="17" height="9"> yiwuil, - wďttu <IMG src="assets/arrow.gif" width="17" height="9"> - yďwďttu</STRONG></FONT>.</P> + wÄttu <IMG src="assets/arrow.gif" width="17" height="9"> + yÄwÄttu</STRONG></FONT>.</P> <P align="justify">This <STRONG><FONT face="Arial, Helvetica, sans-serif">y</FONT></STRONG>- - (or <STRONG><FONT face="Arial, Helvetica, sans-serif">yď</FONT></STRONG>-) - prefix can in turn be augmented to <STRONG><FONT face="Arial, Helvetica, sans-serif">yď</FONT></STRONG> - (spelled <STRONG><FONT face="Arial, Helvetica, sans-serif">y</FONT></STRONG> - before a vowel but still pronounced <STRONG><FONT face="Arial, Helvetica, sans-serif">yď</FONT></STRONG>) + (or <STRONG><FONT face="Arial, Helvetica, sans-serif">yÄ</FONT></STRONG>-) + prefix can in turn be augmented to <STRONG><FONT face="Arial, Helvetica, sans-serif">yÄâ</FONT></STRONG> + (spelled <STRONG><FONT face="Arial, Helvetica, sans-serif">yâ</FONT></STRONG> + before a vowel but still pronounced <STRONG><FONT face="Arial, Helvetica, sans-serif">yÄâ</FONT></STRONG>) to indicate that the semantic focus instead applies to the aspectual meaning - indicated by the aspectual prefix. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">ęstiu</FONT> - <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif">yęstiu</FONT>, + indicated by the aspectual prefix. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">Ästiu</FONT> + <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif">yâÄstiu</FONT>, <FONT face="Arial, Helvetica, sans-serif">iwuil</FONT> <IMG src="assets/arrow.gif" width="17" height="9"><FONT face="Arial, Helvetica, sans-serif"> - yiwuil</FONT>, <FONT face="Arial, Helvetica, sans-serif">wďttu</FONT> - <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif">yďwďttu</FONT></STRONG>.</P> + yâiwuil</FONT>, <FONT face="Arial, Helvetica, sans-serif">wÄttu</FONT> + <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif">yÄâwÄttu</FONT></STRONG>.</P> <H3 align="justify"><BR> 6.4.6 Examples of Aspect In Use</H3> <DIV align="justify"><STRONG><A href="Sound_Files/Ch-6-3.mp3"><IMG src="assets/6-4-6.gif" width="489" height="661"> @@ -1317,14 +1317,14 @@ </TBODY></TABLE> </DIV> <P align="justify">Most languages have a morphological category for verbs known - as mood, serving to indicate specific attitudes or perspectives + as âmood,â serving to indicate specific attitudes or perspectives on the act, condition, or event, or the degree of factuality involved. Example moods common to Western languages include the indicative (factual utterances), - subjunctive (showing doubt or probability, expressed by may/might + subjunctive (showing doubt or probability, expressed by âmay/mightâ in English), imperative (indicating commands, e.g., <EM>Go now!, Sing it for us!</EM> ), conditional (expressing hypotheticals, e.g., <EM>She would travel if she could</EM>), optative (indicating wishes, hopes, expectations, e.g., - <EM>I wish hed go, I expect him to be here</EM>), and hortative (indicating + <EM>I wish heâd go, I expect him to be here</EM>), and hortative (indicating exhortations, e.g., <EM>May he live 100 years! Let them see for themselves!</EM>).</P> <P align="justify">We have already seen in <A href="ithkuil-ch5a-verbs.htm#Sec5o1">Section 5.1</A> above that in Ithkuil the functions of certain moods in Western languages @@ -1352,7 +1352,7 @@ </DIV> <P align="justify">The <FONT size="2">FACTUAL</FONT> mood is shown by penultimate stress and falling tone on the aspectual adjunct. This mood signifies that the - factuality of the speakers statement is certain and that there either + factuality of the speakerâs statement is certain and that there either is no underlying presupposition to the statement, or if there is, its factuality is also certain or has no bearing on the factuality of the statement. As described above, the actual interpretation (and translation) of any statement in the <FONT size="2">FACTUAL</FONT> @@ -1361,7 +1361,7 @@ Examples:</P> <P align="justify"><EM>His kids are ill.</EM> [i.e., it is known he has kids and it is known they are ill]</P> -<P align="justify"><EM>Were taking a walk later on. </EM>[i.e., it is our +<P align="justify"><EM>Weâre taking a walk later on. </EM>[i.e., it is our intention and we have the opportunity to do so]<BR> </P> <DIV align="justify"> @@ -1377,10 +1377,10 @@ <P align="justify">The <FONT size="2">SUBJUNCTIVE</FONT> mood is shown by ultimate stress and falling tone on the aspectual adjunct. This mood indicates that the factuality of an explicit or implicit presupposition underlying the statement - is certain, but the factuality of the speakers statement itself is questionable + is certain, but the factuality of the speakerâs statement itself is questionable or uncertain, the specific nuance of factuality intended being subject to the particular Bias and Validation associated with the verb. Corresponds roughly - with English may, maybe or might, + with English âmay,â âmaybeâ or âmight,â with the added distinction that an explicit or implicit (i.e., underlying) presupposition is true. Examples:</P> <P align="justify"><EM>Maybe his kids are ill.</EM> [i.e., it is known that he @@ -1403,16 +1403,16 @@ adjunct. This mood functions identically to the <FONT size="2">FACTUAL</FONT> except that the factuality of an underlying presupposition is unknown. It therefore conveys an act, state, or event whose factuality is dependent on whether something - else is factual, thus corresponding to certain usages of English maybe - and will (where will primarily conveys possibility, + else is factual, thus corresponding to certain usages of English âmaybeâ + and âwillâ (where âwillâ primarily conveys possibility, not future tense). As with all moods, the specific translation is subject to the particular Bias and Validation associated with the verb. Examples:</P> -<P align="justify"><EM>His kidsll be ill</EM> <STRONG><FONT size="2">OR</FONT></STRONG> +<P align="justify"><EM>His kidsâll be ill</EM> <STRONG><FONT size="2">OR</FONT></STRONG> <EM>If he has kids, they are ill.</EM> [i.e., it is unknown whether he has kids, but if he does, they are certainly ill.]</P> -<P align="justify"><EM>Well take a walk later on</EM> [i.e., if we can] +<P align="justify"><EM>Weâll take a walk later on</EM> [i.e., if we can] <STRONG><FONT size="2">OR</FONT></STRONG> <EM>We intend to take a walk.</EM> - [i.e., but we dont know if well be able to]<BR> + [i.e., but we donât know if weâll be able to]<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -1427,8 +1427,8 @@ <P align="justify">Shown by ultimate stress and high tone on the aspectual adjunct. This mood indicates that the factuality of both the presupposition and the statement itself are unknown. Its translation into English is dependent on the specific - context, sometimes corresponding to may, maybe or - might, and at other times corresponding to the auxiliary would. + context, sometimes corresponding to âmay,â âmaybeâ or + âmight,â and at other times corresponding to the auxiliary âwould.â Compare the examples below to those above:</P> <P align="justify"><EM>Maybe his kids are ill</EM> [i.e., it is unknown if he has kids but if he does, they may be ill].</P> @@ -1449,15 +1449,15 @@ <P align="justify">Shown by penultimate stress and broken tone on the aspectual adjunct. This mood indicates that the factuality of the underlying presupposition is false or unreal but that the factuality of the statement would otherwise - be true. It thus corresponds to the English construction of auxiliary would - or would have in its use to show counterfactuality (i.e., what + be true. It thus corresponds to the English construction of auxiliary âwouldâ + or âwould haveâ in its use to show counterfactuality (i.e., what would have been if a false presupposition had been true). Again, the specific translation is subject to the particular Bias and Validation associated with the verb. Compare the examples below to those above.</P> <P align="justify"><EM>His kids would be (would have been) ill</EM> [i.e., if - he had kids they would be ill, but he doesnt].</P> + he had kids they would be ill, but he doesnât].</P> <P align="justify"><EM>We would take (would have taken) a walk later on</EM> [i.e., - it is our intention but we wont have the opportunity].<BR> + it is our intention but we wonât have the opportunity].<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -1472,15 +1472,15 @@ <P align="justify">Shown by ultimate stress and broken tone on the aspectual adjunct. This mood indicates that the factuality of the underlying presupposition is false or unreal and that the factuality of the statement itself is uncertain. - It thus corresponds to the English construction of auxiliary might have + It thus corresponds to the English construction of auxiliary âmight haveâ in its use to show possible counterfactuality (i.e., what might have been if a false presupposition had been true). Again, the specific translation is subject to the particular Bias and Validation associated with the verb. Compare the examples below to those above.</P> -<P align="justify"><EM>His kids mightve been ill</EM> [if he had kids, - but he doesnt, so well never know].</P> -<P align="justify"><EM>We mightve taken a walk later on</EM> [i.e., but - we wont have the opportunity, so the decision whether to do so is moot].<BR> +<P align="justify"><EM>His kids mightâve been ill</EM> [if he had kids, + but he doesnât, so weâll never know].</P> +<P align="justify"><EM>We mightâve taken a walk later on</EM> [i.e., but + we wonât have the opportunity, so the decision whether to do so is moot].<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -1497,14 +1497,14 @@ determines the factuality of the statement and that the relationship between the two need not necessarily be a direct cause-and-effect, but merely an indirect chain of events from which the speaker infers the statement from the underlying - presupposition. In grammatical analysis, this is referred to as an epistemic - conditional. Examples are shown below. </P> + presupposition. In grammatical analysis, this is referred to as an âepistemic + conditional.â Examples are shown below. </P> <P align="justify"><EM>His kids are (must be) ill</EM> [i.e., as implied by some other fact such as his staying home from work].</P> -<P align="justify"><EM>If she wears a blue dress, well be taking a walk - later on</EM> <STRONG><FONT size="2">OR</FONT></STRONG> <EM>Shes wearing - a blue dress, so that means well be taking a walk later on</EM> [i.e., - the dress implies something has happened that well make the walk a certainty].<BR> +<P align="justify"><EM>If she wears a blue dress, weâll be taking a walk + later on</EM> <STRONG><FONT size="2">OR</FONT></STRONG> <EM>Sheâs wearing + a blue dress, so that means weâll be taking a walk later on</EM> [i.e., + the dress implies something has happened that weâll make the walk a certainty].<BR> </P> <DIV align="justify"> <TABLE width="45%" border="0" cellpadding="0"> @@ -1523,9 +1523,9 @@ <P align="justify"><EM>His kids may be ill</EM> [i.e., as implied by some other fact such as his staying home from work].</P> <P align="justify"><EM>If she wears a blue dress, we might be taking a walk later - on </EM><STRONG><FONT size="2">OR</FONT></STRONG> <EM>Shes wearing a + on </EM><STRONG><FONT size="2">OR</FONT></STRONG> <EM>Sheâs wearing a blue dress, so that means we might be taking a walk later on</EM> [i.e., the - dress implies something has happened that well make the walk a possibility].</P> + dress implies something has happened that weâll make the walk a possibility].</P> <H3 align="justify"><BR> 6.5.9 Examples of Mood in Use</H3> <DIV align="justify">The following examples compare the seven non-<FONT size="2">FACTUAL</FONT> @@ -1558,7 +1558,7 @@ </DIV> <P align="justify">Bias expresses the general, overall subjective/emotional attitude or perspective in which the speaker regards the action. There are 24 basic bias - categories, each of which has an additional intensive form which + categories, each of which has an additional âintensiveâ form which often warrants a change in English translation. Bias operates closely with Validation (previously discussed in <A href="ithkuil-ch6-moreverbs.htm#Sec6o1">Sec. 6.1</A>), often triggering a translation change as well.</P> @@ -1568,12 +1568,12 @@ <DIV align="justify"> <OL> <LI>as a word-initial consonantal prefix to an aspectual adjunct; a glottal - stop is infixed between the prefix and the adjunct, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">nurs, - ssillui</FONT></STRONG><BR> + stop is infixed between the prefix and the adjunct, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">nâurs, + ssâillui</FONT></STRONG><BR> </LI> <LI> as a word-final consonantal suffix to an aspectual adjunct; a glottal - stop is infixed between the adjunct and the suffix, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">ursaun, - illuiss</FONT></STRONG><BR> + stop is infixed between the adjunct and the suffix, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">ursauân, + illuiâss</FONT></STRONG><BR> </LI> <LI> as a consonantal infix to an aspectual adjunct, which substitutes this consonantal infix for the Cx consonantal infix of the adjunct; this infix @@ -1582,11 +1582,11 @@ </LI> <LI> as a word-initial consonantal prefix to formative if the formative begins with a vowel; a glottal stop is infixed between the prefix and the formative, - e.g., <FONT face="Arial, Helvetica, sans-serif"><STRONG>nexalt, ssimlatku</STRONG></FONT></LI> + e.g., <FONT face="Arial, Helvetica, sans-serif"><STRONG>nâexalt, ssâimlatku</STRONG></FONT></LI> </OL> </DIV> <P align="justify">These prefix, suffix, and infix forms are shown in Table 20 - below. The forms to the right of the arrow are the intensive forms + below. The forms to the right of the arrow are the âintensiveâ forms described above. The 24 biases are explained following the table.</P> <P align="justify"><BR> <STRONG><FONT face="Arial, Helvetica, sans-serif">Table 20: Morpho-Phonological @@ -1604,9 +1604,9 @@ </TR> </TBODY></TABLE> This bias indicates certainty or self-assurance on the part of the speaker, - translatable by such phrases as of course, after all, - or needless to say. The intensive form adds a sort of self-righteousness - quality conveyed by I told you so! or You see?!<BR> + translatable by such phrases as âof course,â âafter all,â + or âneedless to say.â The intensive form adds a sort of self-righteousness + quality conveyed by âI told you so!â or âYou see?!â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1617,10 +1617,10 @@ </TR> </TBODY></TABLE> This bias imparts a sense of hyperbole and exaggeration, captured in such colloquial - expressions as a prolonged so or totally as in <EM>I - so dont care!</EM> or <EM>That is totally not what I wanted.</EM> The - intensive form adds a sense of one-upmanship as conveyed by the - expression <EM>Thats nothing, wait till you hear this!</EM><BR> + expressions as a prolonged âsoâ or âtotallyâ as in <EM>I + so donât care!</EM> or <EM>That is totally not what I wanted.</EM> The + intensive form adds a sense of âone-upmanshipâ as conveyed by the + expression <EM>Thatâs nothing, wait till you hear this!</EM><BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1631,10 +1631,10 @@ </TR> </TBODY></TABLE> This bias conveys a sense of coincidence or happenstance as conveyed by the - use of happen in<EM> I happened to run into Jane</EM> or <EM>It - just so happens that Im busy</EM>. The intensive form adds a sense of - serendipity, as conveyed by expressions such as as luck would have it, - luckily or fortunately.<BR> + use of âhappenâ in<EM> I happened to run into Jane</EM> or <EM>It + just so happens that Iâm busy</EM>. The intensive form adds a sense of + serendipity, as conveyed by expressions such as âas luck would have it,â + âluckilyâ or âfortunately.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1645,9 +1645,9 @@ </TR> </TBODY></TABLE> This bias indicates a sense of general acceptance, as conveyed by the expression - its just as well that. The intensive form conveys resignation - to fate, as expressed by phrases such as like it or not or
and - theres nothing to be done about it!<BR> + âitâs just as well that.â The intensive form conveys resignation + to fate, as expressed by phrases such as âlike it or notâ or ââŚand + thereâs nothing to be done about it!â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1657,9 +1657,9 @@ <TD width="63%"><STRONG><FONT size="2">REACTIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias indicates surprise, as conveyed by phrases such as my goodness! - or its surprising that. The intensive form raises this - sense to the level of astonishment, as expressed by Wow! or Amazing!<BR> + This bias indicates surprise, as conveyed by phrases such as âmy goodness!â + or âitâs surprising that.â The intensive form raises this + sense to the level of astonishment, as expressed by âWow!â or âAmazing!â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1670,10 +1670,10 @@ </TR> </TBODY></TABLE> This bias indicates a mild sense of wonder or reflection, as conveyed by the - phrase its a wonder that as in <EM>Its a wonder - he didnt break a bone in that fall</EM>. The intensive raises this sense - to one of awe, as conveyed by expressions such as Well Ill be! - or Who wouldve thought
.<BR> + phrase âitâs a wonder thatâ as in <EM>Itâs a wonder + he didnât break a bone in that fall</EM>. The intensive raises this sense + to one of awe, as conveyed by expressions such as âWell Iâll be!â + or âWho wouldâve thoughtâŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1683,10 +1683,10 @@ <TD width="63%"><STRONG><FONT size="2">CONTEMPLATIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias expresses puzzlement, as conveyed by phrases such as I wonder - how
, thats odd
, I dont - get it
, or a quizzical hmmmm. The intensive form - raises this sense to sudden bewilderment, as in Huh? What do you mean
?<BR> + This bias expresses puzzlement, as conveyed by phrases such as âI wonder + howâŚ,â âthatâs oddâŚ,â âI donât + get itâŚ,â or a quizzical âhmmmm.â The intensive form + raises this sense to sudden bewilderment, as in âHuh? What do you meanâŚ?â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1697,9 +1697,9 @@ </TR> </TBODY></TABLE> This bias conveys a sense of dread or the conveyance of bad news, as expressed - by I dont know how to say this, but
or Im - afraid that
. The intensive form raises this to the level of outright - despair, as in Oh, God
or Oh, no!
.<BR> + by âI donât know how to say this, butâŚâ or âIâm + afraid thatâŚ.â The intensive form raises this to the level of outright + despair, as in âOh, GodâŚâ or âOh, no!âŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1710,9 +1710,9 @@ </TR> </TBODY></TABLE> This bias expresses a sense of discovery, as conveyed by expressions such as - No wonder
. or So thats why
. - The intensive form raises this to a sense of surprised revelation, as in Aha!
. - or Well, well, well!
.<BR> + âNo wonderâŚ.â or âSo thatâs whyâŚ.â + The intensive form raises this to a sense of surprised revelation, as in âAha!âŚ.â + or âWell, well, well!âŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1723,9 +1723,9 @@ </TR> </TBODY></TABLE> This bias conveys a sense of pleasantness or mild pleasure, as conveyed by expressions - such as Its pleasant to
or I like to
. - The intensive raises this to a state of bliss or rapture, as in Oh, theres - nothing like
. or (Sigh) What bliss it is to
.<BR> + such as âItâs pleasant toâŚâ or âI like toâŚ.â + The intensive raises this to a state of bliss or rapture, as in âOh, thereâs + nothing likeâŚ.â or â(Sigh) What bliss it is toâŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1735,10 +1735,10 @@ <TD width="63%"><STRONG><FONT size="2">SOLICITIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias expresses the Ithkuil equivalent of English please. + This bias expresses the Ithkuil equivalent of English âplease.â In its intensive form, this transforms into an impatient demand, expressed in - Cmon!, Whatre you waiting for? or - the phrase so
already! as in the sentence <EM>So dance already! + âCâmon!,â âWhatâre you waiting for?â or + the phrase âsoâŚalready!â as in the sentence <EM>So dance already! </EM><BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1750,12 +1750,12 @@ </TR> </TBODY></TABLE> This bias conveys the idea of subjective interpretation, as seen in expressions - such as Look at it this way
, As I see it,
, - Subjectively speaking,
, or From one point of view,
. + such as âLook at it this wayâŚ,â âAs I see it,âŚ,â + âSubjectively speaking,âŚ,â or âFrom one point of view,âŚ.â In its intensive form, it conveys a narrow, singleminded interpretation, as - conveyed by expressions such as It can only mean one thing
, - and thats that! and thats all there is to - it! or Theres no two ways about it,
.<BR> + conveyed by expressions such as âIt can only mean one thingâŚ,â + âand thatâs that!â âand thatâs all there is to + it!â or âThereâs no two ways about it,âŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1768,7 +1768,7 @@ This bias conveys a sense of understatement, as conveyed in many subtle ways in English such as tone of voice or deliberately undramatic word choices. In its intensive form, this sense is raised to that of blatant irony, as when saying - Well! That was fun! after an unpleasant or harrowing experience.<BR> + âWell! That was fun!â after an unpleasant or harrowing experience.<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1779,10 +1779,10 @@ </TR> </TBODY></TABLE> This bias conveys a sense of impatient exasperation, as conveyed by expressions - such as Look, dont you get it?
or Look, Im - trying to tell you
. In its intensive form, this bias conveys a + such as âLook, donât you get it?âŚâ or âLook, Iâm + trying to tell youâŚ.â In its intensive form, this bias conveys a sense of outright mockery, as expressed by a mocking tone of voice in English, - or by an deliberate, exasperated echolalia, i.e., the repeating of a persons + or by an deliberate, exasperated echolalia, i.e., the repeating of a personâs words back at them in contempt.<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1794,12 +1794,12 @@ </TR> </TBODY></TABLE> This bias underscores a distinction between context and literalness, expressed - by the English phrases technically speaking or Context - aside for a moment,
as in <EM>Technically speaking, thats - not a polka</EM> (i.e., its a polka version of a non-polka song). In + by the English phrases âtechnically speakingâ or âContext + aside for a moment,âŚâ as in <EM>Technically speaking, thatâs + not a polka</EM> (i.e., itâs a polka version of a non-polka song). In the intensive form, this bias conveys a sense of total literalness and exactitude, - expressed in English by phrases such as strictly speaking or to - put it in clinical terms
. as in <EM>Strictly speaking, thats + expressed in English by phrases such as âstrictly speakingâ or âto + put it in clinical termsâŚ.â as in <EM>Strictly speaking, thatâs not a polka</EM> (i.e., its rhythm is not that of a true polka).<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> @@ -1811,11 +1811,11 @@ </TR> </TBODY></TABLE> This bias indicates a correction on the part of the speaker, as expressed in - English by that is to say
, What I mean(t) to say - is
or I mean
. The intensive form indicates - a sense of subjective equivalence, as expressed in English by in a manner - of speaking, so to speak, or for all intents and - purposes.<BR> + English by âthat is to sayâŚ,â âWhat I mean(t) to say + isâŚâ or âI meanâŚ.â The intensive form indicates + a sense of subjective equivalence, as expressed in English by âin a manner + of speaking,â âso to speak,â or âfor all intents and + purposes.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1826,10 +1826,10 @@ </TR> </TBODY></TABLE> This bias indicates a rephrasing or substitution of wording for means of clarification, - as expressed in English by in other words
or to - put it more exactly
. The intensive form conveys a sense of outright - euphemism, as expressed in English by phrases such as Lets just - say that
. or Well, let me put it this way
.<BR> + as expressed in English by âin other wordsâŚâ or âto + put it more exactlyâŚ.â The intensive form conveys a sense of outright + euphemism, as expressed in English by phrases such as âLetâs just + say thatâŚ.â or âWell, let me put it this wayâŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1839,10 +1839,10 @@ <TD width="63%"><STRONG><FONT size="2">SKEPTICAL</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias conveys a sense of skepticism, as expressed in English by Its - (a little) hard to believe that
. The intensive form raises this - sense to that of outright incredulity, as in a derisive Oh, yeah! Suuuure! - or a sneering Yeah, right!<BR> + This bias conveys a sense of skepticism, as expressed in English by âItâs + (a little) hard to believe thatâŚ.â The intensive form raises this + sense to that of outright incredulity, as in a derisive âOh, yeah! Suuuure!â + or a sneering âYeah, right!â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1853,10 +1853,10 @@ </TR> </TBODY></TABLE> This bias conveys a sense of incredulous unexpectedness or cynical surprise, - as in You mean to tell me
? or You gotta be kidding - me,
. The intensive form shifts this to outright sarcasm upon - the discovery, as in So! You just had to go and
or Well, - wouldnt you know it,
or Oh, nice!
.<BR> + as in âYou mean to tell meâŚ?â or âYou gotta be kidding + me, âŚ.â The intensive form shifts this to outright sarcasm upon + the discovery, as in âSo! You just had to go andâŚâ or âWell, + wouldnât you know it, âŚâ or âOh, nice!âŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1866,10 +1866,10 @@ <TD width="63%"><STRONG><FONT size="2">CONTEMPTIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias expresses simple disapproval, as conveyed by phrases such as I - dont like the fact that
or It bothers me that
. + This bias expresses simple disapproval, as conveyed by phrases such as âI + donât like the fact thatâŚâ or âIt bothers me thatâŚ.â The intensive form raises this to all-out contempt or disgust, as conveyed by - Shit! or What nonsense! or What bullshit!<BR> + âShit!â or âWhat nonsense!â or âWhat bullshit!â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1880,11 +1880,11 @@ </TR> </TBODY></TABLE> This bias conveys a sense of downplaying or lowering of expectations, as expressed - in English by sorry, but
or Its nothing. - Its just
as in Its just a small cut or Sorry, but - its only the mailman. The intensive form expresses outright dismissal - or insignificance, as conveyed by such expressions as Is that it? - Big deal! or So what!?<BR> + in English by âsorry, butâŚâ or âItâs nothing. + Itâs justâŚâ as in Itâs just a small cut or Sorry, but + itâs only the mailman. The intensive form expresses outright dismissal + or insignificance, as conveyed by such expressions as âIs that it?â + âBig deal!â or âSo what!?â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1894,11 +1894,11 @@ <TD width="63%"><STRONG><FONT size="2">INDIGNATIVE</FONT></STRONG></TD> </TR> </TBODY></TABLE> - This bias conveys a sense of second-guessing, as expressed in English by Im - sorry, what did you say? or Say again? You want me to what? - or I beg your pardon? The intensive form shifts this sense to - outright indignation, as conveyed by expressions such as The nerve! - or How dare
!?<BR> + This bias conveys a sense of second-guessing, as expressed in English by âIâm + sorry, what did you say?â or âSay again? You want me to what?â + or âI beg your pardon?â The intensive form shifts this sense to + outright indignation, as conveyed by expressions such as âThe nerve!â + or âHow dareâŚ!?â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1909,10 +1909,10 @@ </TR> </TBODY></TABLE> This bias conveys the sense of suggestiveness conveyed in English by such phrases - as what if
or It could be that
. The + as âwhat ifâŚâ or âIt could be thatâŚ.â The intensive form shifts this to a sense of a formal suggestion or proposition, - as in Consider this:
or Posit the following:
- or Assume for the sake of argument that
.<BR> + as in âConsider this: âŚâ or âPosit the following: âŚâ + or âAssume for the sake of argument thatâŚ.â<BR> <BR> <TABLE width="45%" border="0" cellpadding="0"> <TBODY><TR> @@ -1923,12 +1923,12 @@ </TR> </TBODY></TABLE> This bias expresses a proposal or suggested activity, as conveyed by English - phrases such as How about, We could, or general + phrases such as âHow about,â âWe could,â or general suggestions, as in the sentences <EM>How about going for a stroll?</EM>, <EM>We could meet behind the barn if you want</EM>, or <EM>You can sit on my lap</EM>. The intensive form turns this into an ultimatum, as conveyed in English by phrases - such as take it or leave it, this is your last chance, - or its now or never. </DIV> + such as âtake it or leave it,â âthis is your last chance,â + or âitâs now or never.â </DIV> <P align="justify"> </P> <H3 align="justify">6.6.2 Examples of Bias in Use<BR> </H3> @@ -1997,7 +1997,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P> </P> diff --git a/2004-en-alt/ithkuil-ch7a-affixes1.html b/2004-en-alt/ithkuil-ch7a-affixes1.html index 43b5631..c75356f 100755..100644 --- a/2004-en-alt/ithkuil-ch7a-affixes1.html +++ b/2004-en-alt/ithkuil-ch7a-affixes1.html @@ -129,12 +129,12 @@ degrees. It is the combination of affix-type and degree which determines the vowel infix which accompanies each consonantal suffix. For example, the suffix -<STRONG>nt</STRONG> of Type 1 takes the following forms for its nine degrees: - <STRONG>-int, -ent, -änt, -önt, </STRONG>(<STRONG>a</STRONG>)<STRONG>nt, - -ünt, -ďnt, -ont, -unt</STRONG>. Compare this to the same affix -<STRONG>nt</STRONG> - of Type 2, whose nine forms are: <STRONG>-înt, -ęnt, -ânt, - -řnt, -uint, -˙nt, -ënt, -ônt, -űnt</STRONG>; and + <STRONG>-int, -ent, -änt, -Ăśnt, </STRONG>(<STRONG>a</STRONG>)<STRONG>nt, + -Ăźnt, -Änt, -ont, -unt</STRONG>. Compare this to the same affix -<STRONG>nt</STRONG> + of Type 2, whose nine forms are: <STRONG>-ĂŽnt, -Änt, -ânt, + -Ĺnt, -uint, -Ënt, -ĂŤnt, -Ă´nt, -Ĺąnt</STRONG>; and the suffix -<STRONG>nt</STRONG> of Type 3, whose nine forms are: <STRONG>-ient, - -iënt, -iunt, -iont, -iänt, -uänt, -uont, -uënt, -uent</STRONG>. + -iĂŤnt, -iunt, -iont, -iänt, -uänt, -uont, -uĂŤnt, -uent</STRONG>. These vowel infixes for suffixes are shown in Table 21 below (this table already appeared in Chapter 2 as Table 9; it is repeated here for convenience).</P> <P></P> @@ -169,40 +169,40 @@ 1</FONT></TD> <TD><DIV align="center">-iC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cai</DIV></TD> - <TD><DIV align="center">-îC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cëi</DIV></TD> + <TD><DIV align="center">-ĂŽC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĂŤi</DIV></TD> <TD><DIV align="center">-ieC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Caď</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CaÄ</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 2</FONT></TD> <TD><DIV align="center">-eC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cei</DIV></TD> - <TD><DIV align="center">-ęC / -eiC</DIV></TD> + <TD><DIV align="center">-ÄC / -eiC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Ceu </DIV></TD> - <TD><DIV align="center">-iëC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Ceď</DIV></TD> + <TD><DIV align="center">-iĂŤC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CeÄ</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 3</FONT></TD> - <TD><DIV align="center">-äC / -aeC</DIV></TD> + <TD><DIV align="center">-äC / -aeC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cia</DIV></TD> - <TD><DIV align="center">-âC /-aiC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Câ</DIV></TD> + <TD><DIV align="center">-âC /-aiC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-Câ</DIV></TD> <TD><DIV align="center">-iuC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Ciď</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CiÄ</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 4</FONT></TD> - <TD><DIV align="center">-öC</DIV></TD> + <TD><DIV align="center">-ĂśC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cua</DIV></TD> - <TD><DIV align="center">-řC / -euC</DIV></TD> + <TD><DIV align="center">-ĹC / -euC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Ciu</DIV></TD> <TD><DIV align="center">-ioC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Coď</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CoÄ</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree @@ -211,52 +211,52 @@ <TD bgcolor="#FFFF99"> <DIV align="center">-Ca</DIV></TD> <TD><DIV align="center">-uiC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cui</DIV></TD> - <TD><DIV align="center">-iäC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cuď</DIV></TD> + <TD><DIV align="center">-iäC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CuÄ</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 6</FONT></TD> - <TD><DIV align="center">-üC / -ëuC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cü</DIV></TD> - <TD><DIV align="center">-˙C / -auC</DIV></TD> + <TD><DIV align="center">-ĂźC / -ĂŤuC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĂź</DIV></TD> + <TD><DIV align="center">-ËC / -auC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cau</DIV></TD> - <TD><DIV align="center">-uäC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cäi</DIV></TD> + <TD><DIV align="center">-uäC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-Cäi</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 7</FONT></TD> - <TD><DIV align="center">-ďC / -ëiC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cď</DIV></TD> - <TD><DIV align="center">-ëC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cëu</DIV></TD> + <TD><DIV align="center">-ÄC / -ĂŤiC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CÄ</DIV></TD> + <TD><DIV align="center">-ĂŤC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĂŤu</DIV></TD> <TD><DIV align="center">-uoC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cöi</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĂśi</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 8</FONT></TD> <TD><DIV align="center">-oC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Coi</DIV></TD> - <TD><DIV align="center">-ôC / -oiC / -ouC</DIV></TD> + <TD><DIV align="center">-Ă´C / -oiC / -ouC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cou</DIV></TD> - <TD><DIV align="center">-uëC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cäu</DIV></TD> + <TD><DIV align="center">-uĂŤC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-Cäu</DIV></TD> </TR> <TR> <TD bgcolor="#CCCCCC"><FONT size="2" face="Arial, Helvetica, sans-serif">Degree 9</FONT></TD> <TD><DIV align="center">-uC</DIV></TD> <TD bgcolor="#FFFF99"> <DIV align="center">-Cu</DIV></TD> - <TD><DIV align="center">-űC</DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cű</DIV></TD> + <TD><DIV align="center">-ĹąC</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĹą</DIV></TD> <TD><DIV align="center">-ueC </DIV></TD> - <TD bgcolor="#FFFF99"> <DIV align="center">-Cöu</DIV></TD> + <TD bgcolor="#FFFF99"> <DIV align="center">-CĂśu</DIV></TD> </TR> </TBODY></TABLE> <P align="justify"></P> -<P align="justify">NOTE: For convenience sake, when referring to a particular +<P align="justify">NOTE: For convenienceâ sake, when referring to a particular affix of specific type and degree, we will use the notation in the paragraph above, followed by a slash and a number indicating the degree. Thus, the affix -<STRONG>nt</STRONG> of Type 1 and 4th degree will be written <STRONG>-V<FONT size="1">1</FONT>nt/4</STRONG>, @@ -281,23 +281,23 @@ affix types but again convey a different overall connotation on the words to which they are affixed. </P> <P align="justify">For example, the Type 1 suffix -<STRONG>ej</STRONG> (or -<STRONG>jei</STRONG>), - i.e., -<STRONG>V<FONT size="1">1</FONT>j/2</STRONG>, means hardly any - (of)
as in the word <STRONG>qumjéi</STRONG> hardly - any persons, while its Type 2 counterpart -<STRONG>ęj</STRONG> + i.e., -<STRONG>V<FONT size="1">1</FONT>j/2</STRONG>, means âhardly any + (of)âŚâ as in the word <STRONG>qumjĂŠi</STRONG> âhardly + any persons,â while its Type 2 counterpart -<STRONG>Äj</STRONG> (or -<STRONG>jeu</STRONG>), i.e., -<STRONG>V<FONT size="1">2</FONT>j/2</STRONG>, - has the completely different meaning of somewhat like/sort of like
- as in <STRONG>qumjéu</STRONG> sort of like some persons. + has the completely different meaning of âsomewhat like/sort of likeâŚâ + as in <STRONG>qumjĂŠu</STRONG> âsort of like some persons.â Compare this, however, to the Type 1 suffix -<STRONG>up</STRONG> (or -<STRONG>pu</STRONG>), i.e., -<STRONG>V<FONT size="1">1</FONT>p/9</STRONG>, and its Type 2 counterpart - -<STRONG>űp</STRONG> (or -<STRONG>pű</STRONG>), i.e., -<STRONG>V<FONT size="1">2</FONT>p/9</STRONG>, - which both mean exactly similar to
/identical
, the + -<STRONG>Ĺąp</STRONG> (or -<STRONG>pĹą</STRONG>), i.e., -<STRONG>V<FONT size="1">2</FONT>p/9</STRONG>, + which both mean âexactly similar toâŚ/identicalâŚ,â the difference in usage being that the Type 1 affix conveys merely a circumstantial or incidental similarity, while the Type 2 suffix implies that the similarity is an integral aspect of the word. In English, such a distinction would most likely be conveyed by using a different word. For example, note the difference - when we add these two suffixes to the Ithkuil word <STRONG>qum</STRONG> person: - <STRONG>qumpu</STRONG> means identical-looking person, whereas - <STRONG>qumpű</STRONG> means twin. In this way, we can say + when we add these two suffixes to the Ithkuil word <STRONG>qum</STRONG> âpersonâ: + <STRONG>qumpu</STRONG> means âidentical-looking person,â whereas + <STRONG>qumpĹą</STRONG> means âtwin.â In this way, we can say that the suffix -<STRONG>Vp</STRONG> with Type 1 vocalic infixes conveys a circumstantial application of its meaning to a stem, while with Type 2 vocalic infixes, it conveys a derivational application of its meaning (i.e., wholly new concepts @@ -321,17 +321,17 @@ can be used to modify another suffix (usually the one following, unless there are only two affixes on the stem, in which case the suffix order is irrelevant); this is done by using Type 3 vocalic infixes. For example, the suffix -<STRONG>Vd/5</STRONG>, - which means enough / sufficient(ly), can be used both circumstantially + which means âenough / sufficient(ly),â can be used both circumstantially (using Type 1 infixes) and derivationally (using Type 2 infixes) to modify a stem, or can be used to modify only the adjacent suffix (using Type 3 infixes). This is illustrated below:</P> -<P align="justify"><STRONG>qumad</STRONG> (or <STRONG>qumda</STRONG>): a - sufficient person (i.e., one able to perform the task at hand)<BR> - <STRONG>qumuid</STRONG> (or <STRONG>qumdui</STRONG>): a recruit +<P align="justify"><STRONG>qumad</STRONG> (or <STRONG>qumda</STRONG>): âa + sufficient personâ (i.e., one able to perform the task at hand)<BR> + <STRONG>qumuid</STRONG> (or <STRONG>qumdui</STRONG>): âa recruitâ (i.e., one able to meet performance or entry requirements)<BR> - <STRONG>qumüxduď</STRONG> (or <STRONG>qumiädüx</STRONG>): - a sufficiently large person (where suffix <STRONG>-V<FONT size="1">1</FONT>x/6</STRONG> - = large)</P> + <STRONG>qumĂźxduÄ</STRONG> (or <STRONG>qumiädĂźx</STRONG>): + âa sufficiently large personâ (where suffix <STRONG>-V<FONT size="1">1</FONT>x/6</STRONG> + = âlargeâ)</P> <P> </P> <DIV align="justify"> @@ -343,12 +343,12 @@ </DIV> <P align="justify">All in all, there are five different patterns in which the meanings/functions of affixes are distributed. There are those like -<STRONG>ej</STRONG> - and -<STRONG>ęj</STRONG> above where the Type 1 meaning/function is completely + and -<STRONG>Äj</STRONG> above where the Type 1 meaning/function is completely different than that of Type 2. We will label these classes of affixes <STRONG>V<FONT size="1">1</FONT>C</STRONG> affixes and <STRONG>V<FONT size="1">2</FONT>C</STRONG> affixes respectively, as they represent two totally independent affixes. </P> <P align="justify">Additionally there are those like -<STRONG>up</STRONG> and - -<STRONG>űp</STRONG> which are essentially a single affix with one meaning/function + -<STRONG>Ĺąp</STRONG> which are essentially a single affix with one meaning/function that alternates between Type 1 and Type 2 infixes to distinguish a circumstantial versus a derivational aspect in the stem to which they are affixed. We will label such affixes <STRONG>V<FONT size="1">0</FONT>C</STRONG> suffixes. </P> @@ -444,20 +444,20 @@ its optional vowel component, giving <STRONG>rukas</STRONG>, or the suffix can be reversed to give <STRONG>ruksa</STRONG>. Such reversals are permitted under certain circumstances such as when the suffix is word-final, as is the case - here. An astute reader may be wondering at this point, wouldnt the -<STRONG>ks</STRONG>- + here. An astute reader may be wondering at this point, wouldnât the -<STRONG>ks</STRONG>- conjunct in <STRONG>ruksa</STRONG> once again be mistaken for the Grade 4 mutation of <STRONG>s</STRONG> as it was in <STRONG>ruks</STRONG>? In this case, the answer is no because there is no other reason for the final -<STRONG>a</STRONG> to be there. In words where a final vowel appears for no possible reason, then - it means it is the vocalic portion of a reversed suffix. However, + it means it is the vocalic portion of a âreversedâ suffix. However, one must be certain there is not another reason for the final vowel. For example, - in the word <STRONG>ďruksá</STRONG>, one might be tempted to interpret + in the word <STRONG>ÄruksĂĄ</STRONG>, one might be tempted to interpret the final vowel as being the vocalic portion of a reversed -<STRONG>(a)s</STRONG> suffix, however, in fact this word represents the word <STRONG>rus</STRONG> with Grade 4 mutation of the C2 radical <STRONG>s</STRONG>, declined into the <FONT size="2">ABSTRACT</FONT> perspective, a morphological category shown by - ultimate stress plus the addition of an anaptyctic (i.e., extra) - vowel, in this case, the word-initial <STRONG>ď- </STRONG>(see <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o3o3">Secs. + ultimate stress plus the addition of an anaptyctic (i.e., âextraâ) + vowel, in this case, the word-initial <STRONG>Ä- </STRONG>(see <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o3o3">Secs. 2.7.3.3</A> and <A href="ithkuil-ch3-morphology.htm#Sec3o3o4">3.3.4</A>).</P> <H3 align="justify"><BR> 7.5.1 Multiple Affixation</H3> @@ -521,9 +521,9 @@ is phonaesthetically impermissible or it causes ambiguity over the interpretation of C<FONT size="1">1</FONT> (i.e., the prefix + C<FONT size="1">1</FONT> conjunct could be misinterpreted as one of the mutational grades of that or a different - C<FONT size="1">1</FONT> radical), then an anaptyctic vowel -<STRONG>ď</STRONG>- + C<FONT size="1">1</FONT> radical), then an anaptyctic vowel -<STRONG>Ä</STRONG>- must be inserted between the prefixed consonant and the C<FONT size="1">1</FONT> - consonant. For example <STRONG>s</STRONG> + <STRONG>kuil</STRONG> becomes <STRONG>sďkuil</STRONG>, + consonant. For example <STRONG>s</STRONG> + <STRONG>kuil</STRONG> becomes <STRONG>sÄkuil</STRONG>, not <STRONG>skuil</STRONG>, since the <STRONG>sk</STRONG>- initial conjunct of the latter would be misinterpreted as the C<FONT size="1">1</FONT> radical of an entirely different stem. </P> @@ -532,18 +532,18 @@ portion is suffixed to the stem in word-final position (and therefore its word-final form) in a manner so that it cannot be ambiguously interpreted as being associated with another suffix. Thus <STRONG>kuil</STRONG> + <STRONG>es</STRONG>, if prefixed, - becomes <STRONG>sďkuilei</STRONG>. For prefixed consonants which do not + becomes <STRONG>sÄkuilei</STRONG>. For prefixed consonants which do not cause confusion over the interpretation of the C<FONT size="1">1</FONT> radical, these can be directly adjoined to the C<FONT size="1">1</FONT> radical, preceded - by a word-initial <STRONG>ď</STRONG>- if phonaesthetically necessary, e.g., + by a word-initial <STRONG>Ä</STRONG>- if phonaesthetically necessary, e.g., <STRONG>guil</STRONG> + <STRONG>uj</STRONG> becomes <STRONG>jguilu</STRONG>, - while <STRONG>kuil</STRONG> + <STRONG>up</STRONG> becomes <STRONG>ďpkuilu</STRONG>. + while <STRONG>kuil</STRONG> + <STRONG>up</STRONG> becomes <STRONG>Äpkuilu</STRONG>. </P> -<P align="justify">Note that forms such as <STRONG>sďkuilei</STRONG> and - <STRONG>ďpkuilu</STRONG> above are considered highly affected morphological - forms, since their standard forms are far more euphonically desirable +<P align="justify">Note that forms such as <STRONG>sÄkuilei</STRONG> and + <STRONG>Äpkuilu</STRONG> above are considered highly affected morphological + forms, since their âstandardâ forms are far more euphonically desirable (i.e., <STRONG>kuiles</STRONG> and <STRONG>kuilpu</STRONG>). In such cases, - these affected prefixed forms have the rhetorical effect of emphasizing + these âaffectedâ prefixed forms have the rhetorical effect of emphasizing or highlighting the affix as having exaggerated significance.</P> <H3 align="justify"><BR> 7.6.2 Rules for Formatives With Vocalic Prefixes</H3> @@ -557,14 +557,14 @@ affix (see <A href="ithkuil-ch5a-verbs.htm#Sec5o1">Sec. 5.1</A>). The vocalic portion of the consonantal affix which indicates the degree of the affix is suffixed in word-final position so that it cannot be ambiguously interpreted - as being associated with another suffix. Thus, for example, <STRONG>woikâl</STRONG> - + <STRONG>uc</STRONG> becomes <STRONG>woickâlu</STRONG>. If placement + as being associated with another suffix. Thus, for example, <STRONG>woikâl</STRONG> + + <STRONG>uc</STRONG> becomes <STRONG>woickâlu</STRONG>. If placement of the vocalic suffix indicating degree results in ambiguity as to which consonantal affix it applies to, then prefixation of the consonantal affix is not permitted. - For example, the form <STRONG>ébdortui</STRONG> would be impermissible - because it is ambiguous as to whether the word is equivalent to <STRONG>édorta+bui</STRONG>, - <STRONG>édora+</STRONG>(<STRONG>a</STRONG>)<STRONG>t+bui</STRONG>, or - <STRONG>édora+tui+</STRONG>(<STRONG>a</STRONG>)<STRONG>b</STRONG>.</P> + For example, the form <STRONG>ĂŠbdortui</STRONG> would be impermissible + because it is ambiguous as to whether the word is equivalent to <STRONG>ĂŠdorta+bui</STRONG>, + <STRONG>ĂŠdora+</STRONG>(<STRONG>a</STRONG>)<STRONG>t+bui</STRONG>, or + <STRONG>ĂŠdora+tui+</STRONG>(<STRONG>a</STRONG>)<STRONG>b</STRONG>.</P> <P> </P> <DIV align="justify"> @@ -597,7 +597,7 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">any (number - of) [random selection - NOT quantitative/partitive any]; in + of) [random selection - NOT quantitative/partitive âanyâ]; in any manner</FONT></TD> </TR> <TR> @@ -619,7 +619,7 @@ <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">this X or that; a certain X or more; in this way or that [identity almost known - choices limited]</FONT></TD> + â choices limited]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -714,7 +714,7 @@ <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">some few/a - few certain
; in a few certain ways</FONT></TD> + few certain ⌠; in a few certain ways</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> @@ -913,7 +913,7 @@ <H3> 7.7.2 Deictic Affixes</H3> <P align="justify">Deictic affixes refer to the grammatical process of <STRONG>deixis</STRONG>, the act of pointing to or pointing out. The affixes correspond to the different - variants of the concepts of here and there. In Ithkuil, + variants of the concepts of âhereâ and âthere.â In Ithkuil, distinctions are made in these affixes as to whether a referent is near the speaker, near the listener, distant from both, whether it is observable or accessible, and in some case, whether it is alienable or inalienable (i.e., whether the @@ -921,7 +921,7 @@ </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1</FONT><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG></STRONG></TD> + <TD width="11%">-V<FONT size="1">1</FONT><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG>â</STRONG></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>DEX</STRONG></DIV></TD> <TD width="82%">Deixis Categories</TD> </TR> @@ -975,7 +975,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">2</FONT><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG></STRONG></TD> + <TD width="11%">-V<FONT size="1">2</FONT><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle"><STRONG>â</STRONG></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>DXX</STRONG></DIV></TD> <TD width="82%">More Deixis Categories</TD> </TR> @@ -1142,7 +1142,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>c</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>câ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SQC</STRONG></DIV></TD> <TD width="82%">Sequence of Cause and Effect</TD> </TR> @@ -1210,7 +1210,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">and / also - / additionally/ furthermore/ moreover/ whats more</FONT></TD> + / additionally/ furthermore/ moreover/ whatâs more</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -1261,17 +1261,17 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">still / - nevertheless / however (despite seemingly inherent conflict or contradiction)</FONT></TD> + nevertheless / however â (despite seemingly inherent conflict or contradiction)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">besides - / not just . . . but also / in addition to X
also </FONT></TD> + / not just . . . but also / in addition to X⌠also </FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">even / - or even /
still [e.g., thicker still]</FONT></TD> + or even / ⌠still [e.g., thicker still]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> @@ -1289,7 +1289,7 @@ <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">however - / on the other hand (simple difference in expected outcome, no inherent + / on the other hand â (simple difference in expected outcome, no inherent conflict)</FONT></TD> </TR> <TR> @@ -1414,7 +1414,7 @@ <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P align="left"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt +<P align="left"><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="left"> </P> diff --git a/2004-en-alt/ithkuil-ch7b-affixes2.html b/2004-en-alt/ithkuil-ch7b-affixes2.html index 0ac88a4..b328053 100755..100644 --- a/2004-en-alt/ithkuil-ch7b-affixes2.html +++ b/2004-en-alt/ithkuil-ch7b-affixes2.html @@ -240,7 +240,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>qâ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>TPP</STRONG></DIV></TD> <TD width="82%">Temporal Position Relative to Present</TD> </TR> @@ -287,7 +287,7 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">in the - remote future / far in the future / long after were gone</FONT></TD> + remote future / far in the future / long after weâre gone</FONT></TD> </TR> </TBODY></TABLE> <P> <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> @@ -305,7 +305,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">eagerly - awaited; cant wait for / dying to</FONT></TD> + awaited; canât wait for / dying to</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -430,7 +430,7 @@ <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">[cyclic] - return of... / ...once again; return to /
back again [e.g., summers + return of... / ...once again; return to / âŚback again [e.g., summerâs back]</FONT></TD> </TR> <TR> @@ -551,7 +551,7 @@ <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">approximate(ly) - / somewhere around / just about; or something like that /
or so</FONT></TD> + / somewhere around / just about; or something like that / âŚor so</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> @@ -602,7 +602,7 @@ <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">a whole lot of / a verly large amount or number of / immensely, in an incredible - amount / so much
; so</FONT></TD> + amount / so muchâŚ; so</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> @@ -658,7 +658,7 @@ <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">a whole lot of / a very large amount or number of / immensely, in an incredible - amount / so much
; so</FONT></TD> + amount / so muchâŚ; so</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> @@ -735,7 +735,7 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">none at - all; not
at all</FONT></TD> + all; notâŚat all</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -841,7 +841,7 @@ <P> <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">S</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">S</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄq</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>EXD</STRONG></DIV></TD> <TD width="82%">Dynamically Changing Degree or Extent</TD> </TR> @@ -909,7 +909,7 @@ <TD>Back & forth; to & fro in place (e.g., pendulum, wagging tail)</TD> </TR> <TR> - <TD>-V<FONT size="1">o</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>n</STRONG></FONT></TD> + <TD>-V<FONT size="1">o</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>nĹĄ</STRONG></FONT></TD> <TD bgcolor="#CCCCCC"><DIV align="center"><STRONG>TFV</STRONG></DIV></TD> <TD>Back & forth over linear vector (e.g., snake-like; zig-zag)</TD> </TR> @@ -1117,7 +1117,7 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">unmovable - integrated</FONT></TD> + â integrated</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -1443,7 +1443,7 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">inconsequential/sham/having - no effect; like it didnt even happen/with no effect</FONT></TD> + no effect; like it didnât even happen/with no effect</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -1610,7 +1610,7 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">bottom - rung / the dregs</FONT></TD> + rung / the âdregsâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -1809,7 +1809,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"></FONT><STRONG></STRONG></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot.gif" width="9" height="14" align="absmiddle"></FONT><STRONG>â</STRONG></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>ITG</STRONG></DIV></TD> <TD width="82%">Degree of Intelligence Manifested</TD> </TR> @@ -1830,7 +1830,7 @@ </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">naďve(ly) + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">naÄve(ly) / simplistic(ally) </FONT></TD> </TR> <TR> @@ -1856,7 +1856,7 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">wise(ly); - [V2c = philosophical(ly)] </FONT></TD> + [V2câ = âphilosophical(ly)] </FONT></TD> </TR> </TBODY></TABLE> <P><FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT> </P> @@ -1892,7 +1892,7 @@ </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">yesteryear; + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âyesteryearâ; in the era just passed; in the previous zeitgeist </FONT></TD> </TR> <TR> @@ -1938,7 +1938,7 @@ <P> The above four affixes are used to affirm or negate a formative. Because much of the information associated with an Ithkuil formative is carried in adjuncts, the above affixes are used to indicate exactly which morpho-semantic information - is being affirmed or negated. For example, in English the sentences <EM>I dont + is being affirmed or negated. For example, in English the sentences <EM>I donât want to stop eating, I want to not stop eating, and I want to stop not eating</EM> mean different things. The above four affixes are used with the following degrees. </P> @@ -1946,23 +1946,23 @@ <TBODY><TR> <TD width="12%"><FONT size="2">Degree 1</FONT></TD> <TD width="88%" colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">on - the contrary
most cerainly does NOT/is NOT [absolute negation]; no + the contraryâŚmost cerainly does NOT/is NOT [absolute negation]; no X whatsoever; absolutely not = emphatic negation/denial</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">on the - contrary
does NOT or is NOT [absolute negation contrary to expectation]</FONT></TD> + contraryâŚdoes NOT or is NOT [absolute negation contrary to expectation]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">on the - contrary
does NOT or is NOT [relative negation contrary to expectation]</FONT></TD> + contraryâŚdoes NOT or is NOT [relative negation contrary to expectation]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">no; not - [absolute negation] = e.g.,<EM> I will not win the race (because Im + [absolute negation] = e.g.,<EM> I will not win the race (because Iâm not in the race)</EM></FONT></TD> </TR> <TR> @@ -1983,12 +1983,12 @@ </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">
does + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âŚdoes (too) / is (too) [= simple affirmation contrary to expectation]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">
is + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âŚis indeed / does indeed / most certainly is / most certainly does [emphatic affirmation]</FONT></TD> </TR> @@ -2004,12 +2004,12 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">reversal - or undoing of process = un- / de- / dis-</FONT></TD> + or undoing of process = âun-â / âde-â / âdis-â</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">reversal/undoing - of process in large chunks = un- / de- / dis-</FONT></TD> + of process in large chunks = âun-â / âde-â / âdis-â</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -2025,7 +2025,7 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">well-maintained - / well-kept / healthy; keep X going / maintain X-ing</FONT></TD> + / well-kept / âhealthyâ; keep X going / maintain X-ing</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -2074,7 +2074,7 @@ <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">suspicious-looking - / fishy seeming; presumably /allegedly / gives the appearance + / âfishyâ seeming; presumably /allegedly / gives the appearance of having</FONT></TD> </TR> <TR> @@ -2323,7 +2323,7 @@ <P> <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>FRC</STRONG></DIV></TD> <TD width="82%">Degree of Physical Force Exerted</TD> </TR> @@ -2587,7 +2587,7 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">a synergy - of
/ sum beyond total of parts / a synergistic composite of ; to + of⌠/ sum beyond total of parts / a synergistic composite of ; to X synergistically </FONT></TD> </TR> </TBODY></TABLE> @@ -2641,7 +2641,7 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">totally - right / totally correct(ly) / totally well-Xd </FONT></TD> + right / totally correct(ly) / totally well-Xâd </FONT></TD> </TR> </TBODY></TABLE> <P> </P> @@ -2686,7 +2686,7 @@ <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">declining/fading; trail off/fade / getting softer or weaker / faded / decrepit / has-been - / past ones prime</FONT></TD> + / past oneâs prime</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> @@ -2757,7 +2757,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>kĹĄ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>DRC</STRONG></DIV></TD> <TD width="82%">Degree of Directness</TD> </TR> @@ -2809,7 +2809,7 @@ <P> <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>m</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>mĹĄ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SUD</STRONG></DIV></TD> <TD width="82%">Degree of Suddenness</TD> </TR> @@ -2909,22 +2909,22 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">overly - precise(ly) / nit-picky / with too much scrutiny / overly + precise(ly) / ânit-pickyâ / with too much scrutiny / overly meticulous(ly)</FONT></TD> </TR> </TBODY></TABLE> <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>k + <TD width="11%">-V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>kĹĄ </STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CNC</STRONG></DIV></TD> <TD width="82%">Degree of Concern or Consideration </TD> </TR> <TR> <TD height="27"><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">
the - hell
! / what the hell . . . / . . . who cares</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âŚthe + hellâŚ! / what the hell . . . / . . . who cares</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -3023,7 +3023,7 @@ <P> <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çt</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çt</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CVT</STRONG></DIV></TD> <TD width="82%">Degree of Covertness versus Overtness</TD> </TR> @@ -3041,7 +3041,7 @@ <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">secretive(ly) / covert(ly) / behind the scenes / between the lines / under the table / - back-room</FONT></TD> + âback-roomâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> @@ -3056,17 +3056,17 @@ <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">somewhat - open(ly) / somewhat up front</FONT></TD> + open(ly) / somewhat âup frontâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">open(ly) - / overt(ly) / up front / out in the open / honest / forthcoming(ly)</FONT></TD> + / overt(ly) / âup frontâ / out in the open / honest / forthcoming(ly)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">very open(ly) - / very overt(ly) / very up front / flaunting(ly) / brutally + / very overt(ly) / very âup frontâ / flaunting(ly) / brutally honest</FONT></TD> </TR> <TR> @@ -3179,7 +3179,7 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">too organized - / overly structured / anal(ly) </FONT></TD> + / overly structured / âanal(ly)â </FONT></TD> </TR> </TBODY></TABLE> <P> </P> @@ -3202,8 +3202,8 @@ <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">some sort - of / some kind of / sort of (like) / kind of; in a way / halfway - / does and doesnt</FONT></TD> + of / some kind of / sort of (like) / âkind ofâ; in a way / halfway + / does and doesnât</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> @@ -3233,38 +3233,38 @@ <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">what (a) - ...!; how . . .! ; Boy! Did (does) X ever
</FONT></TD> + ...!; how . . .! ; Boy! Did (does) X ever âŚ</FONT></TD> </TR> </TBODY></TABLE> <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄt</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CTN</STRONG></DIV></TD> <TD width="82%">Degree of Contrariness to Expectation(s) or Shift in Subject</TD> </TR> <TR> <TD height="24"><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">but X would
- / if things were otherwise X WOULD
/ on the contrary, X WOULD [affirmation + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">but X would⌠+ / if things were otherwise X WOULD⌠/ on the contrary, X WOULD [affirmation of hypothetical contrary to statement/suggestion otherwise</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">but / X - DOES/IS . . . / on the contrary
[affirmation of fact contrary to + DOES/IS . . . / on the contrary ⌠[affirmation of fact contrary to suggestion or statement otherwise]</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">like it - or not
/ well, as much as we didnt want to think it would happen...</FONT></TD> + or notâŚ/ well, as much as we didnât want to think it would happen...</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">against - expectation or belief
after all well, what - do you know
X!</FONT></TD> + expectation or belief â⌠after allâ âwell, what + do you knowâŚX!â</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> @@ -3278,25 +3278,25 @@ </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">at - least/at any rate</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âat + least/at any rateâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">by - the way/ just to mention</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âby + the way/ just to mentionâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">not to - change the subject but
/ sorry to change the subject, but
/ - I dont mean to change the subject, but
</FONT></TD> + change the subject butâŚ/ sorry to change the subject, butâŚ/ + I donât mean to change the subject, butâŚ</FONT></TD> </TR> </TBODY></TABLE> <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle"></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/k-cedilla.gif" width="10" height="17" align="absmiddle">â</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>PHY</STRONG></DIV></TD> <TD width="82%">Degree of Physical Control</TD> </TR> @@ -3313,7 +3313,7 @@ <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">losing - control / losing the ability to
</FONT></TD> + control / losing the ability toâŚ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> @@ -3323,12 +3323,12 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">amateur(ishly) - / superficially able to
</FONT></TD> + / superficially able to⌠</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">learn(ing) - to
/ begin(ning) to be able to
</FONT></TD> + to⌠/ begin(ning) to be able to⌠</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> @@ -3420,10 +3420,10 @@ <TR> <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/t-cedilla.gif" width="7" height="16" align="absmiddle"></FONT></TD> <TD bgcolor="#CCCCCC"> </TD> - <TD>attempted, attempt at a
; try to, attempt to</TD> + <TD>attempted, attempt at a âŚ; try to, attempt to</TD> </TR> <TR> - <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çç + <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çç </STRONG></FONT></TD> <TD bgcolor="#CCCCCC"> </TD> <TD>capable, able; can / able to / capable of</TD> @@ -3461,7 +3461,7 @@ <TR> <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/C dot aspirated.gif" width="17" height="17" align="absmiddle"></FONT></TD> <TD bgcolor="#CCCCCC"> </TD> - <TD>
on impulse; feel like X-ing</TD> + <TD>âŚon impulse; feel like X-ing</TD> </TR> <TR> <TD height="27">-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/k-aspirated.gif" width="19" height="18" align="absmiddle"></STRONG></FONT></TD> @@ -3519,13 +3519,13 @@ <TD>not unexpected; be prone to / be apt to / tend to</TD> </TR> <TR> - <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ç + <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çâ </STRONG> </FONT></TD> <TD bgcolor="#CCCCCC"> </TD> <TD>agreed-upon; agree to</TD> </TR> <TR> - <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>x + <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>xâ </STRONG> </FONT></TD> <TD bgcolor="#CCCCCC"> </TD> <TD>responsible for/in charge of</TD> @@ -3543,10 +3543,10 @@ <TR> <TD>-V<FONT size="1">3</FONT><IMG src="assets/c-aspirated.gif" width="18" height="17" align="absmiddle"></TD> <TD bgcolor="#CCCCCC"> </TD> - <TD>to guess or think [that]
</TD> + <TD>to guess or think [that]âŚ</TD> </TR> <TR> - <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom"> + <TD>-V<FONT size="1">3</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/x-cedilla.gif" width="10" height="14" align="absbottom">â </STRONG> </FONT></TD> <TD bgcolor="#CCCCCC"> </TD> <TD>available; available to/for</TD> @@ -3631,7 +3631,7 @@ <P>This affix and the following identify a formative as filling a specific semantic role corresponding in many cases to the semantic roles discussed in <A href="ithkuil-ch4-case.htm#Sec4o1o1">Sections 4.1.1</A> and <A href="ithkuil-ch4-case.htm#Sec4o1o2">4.1.2</A>. In - several instances, these affixes would translate the English agentive + several instances, these affixes would translate the English âagentiveâ suffixes -<EM>er</EM>, or -<EM>or</EM>.</P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> @@ -3704,7 +3704,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">medium - by/through which one Xs</FONT></TD> + by/through which one Xâs</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -3744,7 +3744,7 @@ </TBODY></TABLE> <P> </P><TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ĺž</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CNS</STRONG></DIV></TD> <TD width="82%">Degree of Consent</TD> </TR> @@ -3756,7 +3756,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">without - consent or knowledge as a precaution or for their own good</FONT></TD> + consent or knowledge as a precaution or âfor their own goodâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -3799,12 +3799,12 @@ <TBODY><TR> <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>MEC</STRONG></DIV></TD> - <TD width="82%">Type of Mechanical Instrumentality = by means of + <TD width="82%">Type of Mechanical Instrumentality = âby means ofâ </TD> </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">the bodys + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">the bodyâs natural method of doing so (e.g., on foot, by hand, etc.)</FONT></TD> </TR> <TR> @@ -3853,7 +3853,7 @@ <TBODY><TR> <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" align="absmiddle"></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>BOD</STRONG></DIV></TD> - <TD width="82%">Bodily Instrumentality = by means of </TD> + <TD width="82%">Bodily Instrumentality = âby means ofâ </TD> </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> @@ -3874,7 +3874,7 @@ </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs eyes</FONT></TD> </TR> <TR> @@ -3899,7 +3899,7 @@ <TBODY><TR> <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>mp</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>DBI</STRONG></DIV></TD> - <TD width="82%">Additional Bodily Instrumentality = by means of + <TD width="82%">Additional Bodily Instrumentality = âby means ofâ </TD> </TR> <TR> @@ -3917,32 +3917,32 @@ </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs head</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs teeth</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs lips</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs tongue</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs elbow</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ones + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">oneâs fingers</FONT></TD> </TR> </TBODY></TABLE> @@ -3951,7 +3951,7 @@ <TBODY><TR> <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/l-cedilla.gif" width="5" height="17" align="absmiddle"></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SOC</STRONG></DIV></TD> - <TD width="82%">Type of Social Instrumentality = by means of + <TD width="82%">Type of Social Instrumentality = âby means ofâ </TD> </TR> <TR> @@ -3966,7 +3966,7 @@ </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif"> fronts, + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif"> âfrontsâ, or disguised go-betweens </FONT></TD> </TR> <TR> @@ -4003,7 +4003,7 @@ <P><FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄĹĄ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>RSN</STRONG></DIV></TD> <TD width="82%">Reason for an Emotional State or Motivation for an Action </TD> @@ -4016,7 +4016,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">for foolish - or naďve reason </FONT></TD> + or naÄve reason </FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -4191,7 +4191,7 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">against - better judgement / cant help but / cant help it </FONT></TD> + better judgement / canât help but / canât help it </FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -4244,7 +4244,7 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">by direct - order based on ones real or perceived authority</FONT></TD> + order based on oneâs real or perceived authority</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -4308,17 +4308,17 @@ <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">with moderate - effect or resulting change unanticipated</FONT></TD> + effect or resulting change â unanticipated</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif"> with the - resulting effect to a high degree unanticipated</FONT></TD> + resulting effect to a high degree â unanticipated</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">with the - max. resulting effect possible unanticipated</FONT></TD> + max. resulting effect possible â unanticipated</FONT></TD> </TR> </TBODY></TABLE> <P> </P> @@ -4378,7 +4378,7 @@ <H3>7.7.13 Miscellaneous Affixes<A name="Sec7o7o13"></A></H3> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">1<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>TPF</STRONG></DIV></TD> <TD width="82%">Topic, Frame and Focus</TD> </TR> @@ -4434,7 +4434,7 @@ including Sentence Topic.</P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">2<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">2<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SWR</STRONG></DIV></TD> <TD width="82%">Switch Reference & Obviative Specification (For an explanation and illustration of this affix, see <A href="ithkuil-ch8-adjuncts.htm#Sec8o1o1o7">Sec. @@ -4492,7 +4492,7 @@ <TBODY><TR> <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>s</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>PLA</STRONG></DIV></TD> - <TD width="82%">Place, State, Setting Where
</TD> + <TD width="82%">Place, State, Setting Where⌠</TD> </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> @@ -4553,8 +4553,8 @@ </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">even - as in I dont even like them = in the least bit, to + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âevenâ + as in âI donât even like themâ = in the least bit, to the slightest extent</FONT></TD> </TR> <TR> @@ -4570,7 +4570,7 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">on first - blush / at first / upon initial impression / [my] first thought is/was
</FONT></TD> + blush / at first / upon initial impression / [my] first thought is/wasâŚ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -4812,23 +4812,23 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>PTG</STRONG></DIV></TD> <TD width="82%">Part/Whole Gestalt Componential Metaphors </TD> </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">baseportion + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âbaseâportion (e.g., upper arm)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">extension - portion (e.g., forearm) or flange</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âextensionâ + portion (e.g., forearm) or âflangeâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">trunk + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âtrunkâ or central bulk portion</FONT></TD> </TR> <TR> @@ -4853,12 +4853,12 @@ </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">head + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âheadâ extension or main interface area</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">extension/arm</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">extension/âarmâ</FONT></TD> </TR> </TBODY></TABLE> <P><FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> @@ -4921,7 +4921,7 @@ </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>tâ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SSD</STRONG></DIV></TD> <TD width="82%">Stem-Specific Derivatives<A name="SSDaffix"></A></TD> </TR> @@ -4976,7 +4976,7 @@ <FONT size="2" face="Arial, Helvetica, sans-serif"> </FONT></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>tâ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SBS</STRONG></DIV></TD> <TD width="82%"> Subset of Configurative Set </TD> </TR> @@ -5035,7 +5035,7 @@ <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>kâ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>ATN</STRONG></DIV></TD> <TD width="82%">Degree of Attention or Determination</TD> </TR> @@ -5047,7 +5047,7 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">concentrate - to point of distraction, to be lost in X-ing </FONT></TD> + to point of distraction, to be âlostâ in X-ing </FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -5062,7 +5062,7 @@ <TR> <TD><FONT size="2">Degree 5</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">pay attention - to; attend to; be careful that you
; heed</FONT></TD> + to; attend to; be careful that youâŚ; heed</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> @@ -5089,14 +5089,14 @@ <P></P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĹĄk</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>DPR</STRONG></DIV></TD> <TD width="82%">Dispersion or Separability of a Configurative Set</TD> </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">in total - contact / contiguous mass of; pile, ball of
</FONT></TD> + contact / contiguous mass of; pile, âball ofâŚâ</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> @@ -5122,23 +5122,23 @@ </TR> <TR> <TD><FONT size="2">Degree 6</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">virtual + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">âvirtualâ association only</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">temporal - (iterative) set iteration at long intervals</FONT></TD> + (iterative) set â iteration at long intervals</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">temporal - (iterative) set iteration at frequent intervals</FONT></TD> + (iterative) set â iteration at frequent intervals</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">temporal - (iterative) set iteration at very short, immediate intervals / one + (iterative) set â iteration at very short, immediate intervals / one after another</FONT></TD> </TR> </TBODY></TABLE> @@ -5158,17 +5158,17 @@ <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Loosely - integrated spatially one positioned far away from another</FONT></TD> + integrated spatially â one positioned far away from another</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Loosely - integrated spatially one positioned a little ways away from another</FONT></TD> + integrated spatially â one positioned a little ways away from another</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Well-integrated - spatially one positioned right next to or behind another</FONT></TD> + spatially â one positioned right next to or behind another</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> @@ -5178,17 +5178,17 @@ <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Well-integrated - temporally one right after the other</FONT></TD> + temporally â one right after the other</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Loosely - integrated temporally one a little while after the other</FONT></TD> + integrated temporally â one a little while after the other</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">Loosely - integrated temporally one a long while after the other</FONT></TD> + integrated temporally â one a long while after the other</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> @@ -5206,26 +5206,26 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">first, - top, front, lefthand or lead half of duplex set or pair (e.g., + top, front, lefthand or lead âhalfâ of duplex set or pair (e.g., upper lip, inhale/inhalation, left hand)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">beginning - or leading edge of the first, top, front, lefthand or lead - half of a duplex event or object</FONT></TD> + or leading âedgeâ of the first, top, front, lefthand or lead + âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">middle - section of the first, top, front, lefthand or lead half of + section of the first, top, front, lefthand or lead âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ending - or trailing edge of the first, top, front, lefthand or lead - half of a duplex event or object</FONT></TD> + or trailing âedgeâ of the first, top, front, lefthand or lead + âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> @@ -5235,25 +5235,25 @@ <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">beginning - or leading edge of 2nd, bottom, back, righthand or trailing - half of a duplex event or object</FONT></TD> + or leading âedgeâ of 2nd, bottom, back, righthand or trailing + âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">middle - section of 2nd, bottom, back, righthand or trailing half of + section of 2nd, bottom, back, righthand or trailing âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">ending - or trailing edge of 2nd, bottom, back, righthand or trailing - half of a duplex event or object</FONT></TD> + or trailing âedgeâ of 2nd, bottom, back, righthand or trailing + âhalfâ of a duplex event or object</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">2nd, bottom, - back, righthand or trailing half of duplex set or pair (e.g., + back, righthand or trailing âhalfâ of duplex set or pair (e.g., lower lip, exhale/exhalation, right hand)</FONT></TD> </TR> </TBODY></TABLE> @@ -5310,11 +5310,11 @@ </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">quasi-linear trail or wake left behind on path of linear movement; trail or wake is not composed of the moving entity itself but shows effect of its passage (e.g., slime trail left by snail, footprints left on snow, mowed down foliage left by moving convoy, etc.)</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">quasi-linear âtrailâ or wake left behind on path of linear movement; trail or wake is not composed of the moving entity itself but shows effect of its passage (e.g., slime trail left by snail, footprints left on snow, mowed down foliage left by moving convoy, etc.)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">quasi-linear spread of entity stretching behind linearly moving head (e.g., a line of soldiers put in place to create a front, a line left on a piece of paper as written by an ink pen, path of a ball of string or skein of yarn as it unravels while rolling down an incline)</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">quasi-linear spread of entity stretching behind linearly moving âheadâ (e.g., a line of soldiers put in place to create a front, a line left on a piece of paper as written by an ink pen, path of a ball of string or skein of yarn as it unravels while rolling down an incline)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -5345,7 +5345,7 @@ <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">3-d volume left behind passage of moving front as volume/spatial area of demarcation/zone/restricted space</FONT></TD> </TR> </TBODY></TABLE> -<P>The above affix distinguishes movement of an entity from the trail or spread left behind, e.g., movement which leaves behind a wake or affected area; used with motion roots as well as roots designating shapes/forms. Use of the above suffixes in conjunction with the various roots pertaining to paths of translative movement allows for very nuanced translations of English words such as <EM>surround, cover, inundate, enclose, expand, spread out, encompass</EM>, etc.</P> +<P>The above affix distinguishes movement of an entity from the âtrailâ or spread left behind, e.g., movement which leaves behind a wake or affected area; used with motion roots as well as roots designating shapes/forms. Use of the above suffixes in conjunction with the various roots pertaining to paths of translative movement allows for very nuanced translations of English words such as <EM>surround, cover, inundate, enclose, expand, spread out, encompass</EM>, etc.</P> <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> @@ -5399,11 +5399,11 @@ </TR> <TR> <TD><FONT size="2">Degree 1</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">uneven /assymmetrical nsided 2-D obtusely angled form (e.g., quadrilateral, pentagonoid, hexagonoid</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">uneven /assymmetrical nâsided 2-D obtusely angled form (e.g., quadrilateral, pentagonoid, hexagonoid</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">uneven/assymetrical n-pointed 2-D acutely angled star formation</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">uneven/assymetrical n-pointed 2-D acutely angled âstarâ formation</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> @@ -5427,11 +5427,11 @@ </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">symetrical n-pointed 2-D acutely angled star formation (can be used with numbers as low as 2, which would refer to an elongated diamond shape)</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">symetrical n-pointed 2-D acutely angled âstarâ formation (can be used with numbers as low as 2, which would refer to an elongated diamond shape)</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> - <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">symmetrical nsided 2-D form (e.g., square, pentagon, hexagon)</FONT></TD> + <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">symmetrical nâsided 2-D form (e.g., square, pentagon, hexagon)</FONT></TD> </TR> </TBODY></TABLE> <P>The above affix is used with the number stems (<A href="ithkuil-ch12-numbers.html">see Chapter 12</A>) to provide words for forms, shapes, and solids bearing a distinct number of angles, points, sides, facets, etc. </P> @@ -5439,7 +5439,7 @@ 7.7.14 Locational Affixes</H3> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="12%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çç</STRONG></FONT></TD> + <TD width="12%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>çç</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>LCT</STRONG></DIV></TD> <TD width="81%">Locational Quadrant Markers for Object Being Located (These affixes will be explained and illustrated in <A href="ithkuil-ch10-lexicosemantics.html">Chapter @@ -5448,22 +5448,22 @@ <TR> <TD><FONT size="2">Degree 1</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">+X / +Y - / +Z = right / ahead / above = Quadrant 1</FONT></TD> + / +Z = âright / ahead / aboveâ = Quadrant 1</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 2</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">+X / +Y - / -Z = right / ahead / below = Quadrant 2 </FONT></TD> + / -Z = âright / ahead / belowâ = Quadrant 2 </FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 3</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">+X / -Y - / +Z = right / behind / above = Quadrant 3</FONT></TD> + / +Z = âright / behind / aboveâ = Quadrant 3</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 4</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">+X / -Y - / -Z = right / behind / below = Quadrant 4</FONT></TD> + / -Z = âright / behind / belowâ = Quadrant 4</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 5</FONT></TD> @@ -5473,28 +5473,28 @@ <TR> <TD><FONT size="2">Degree 6</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">-X / +Y - / +Z = left / ahead / above = Quadrant 5</FONT></TD> + / +Z = âleft / ahead / aboveâ = Quadrant 5</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 7</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">-X / +Y - / -Z = left / ahead / below = Quadrant 6</FONT></TD> + / -Z = âleft / ahead / belowâ = Quadrant 6</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 8 </FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">-X / -Y - / +Z = left / behind / above = Quadrant 7</FONT></TD> + / +Z = âleft / behind / aboveâ = Quadrant 7</FONT></TD> </TR> <TR> <TD><FONT size="2">Degree 9</FONT></TD> <TD colspan="2"><FONT size="2" face="Arial, Helvetica, sans-serif">-X / -Y - / -Z = left / behind / below = Quadrant 8</FONT></TD> + / -Z = âleft / behind / belowâ = Quadrant 8</FONT></TD> </TR> </TBODY></TABLE> <P> </P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>p</STRONG></FONT></TD> + <TD width="11%">-V<FONT size="1">0</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>pâ</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>PRX</STRONG></DIV></TD> <TD width="82%">Degree of Proximity</TD> </TR> @@ -5657,7 +5657,7 @@ </TR> </TBODY></TABLE> <BR> -<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT><BR> </P><P></P> diff --git a/2004-en-alt/ithkuil-ch8-adjuncts.html b/2004-en-alt/ithkuil-ch8-adjuncts.html index 480bd6c..8f1b7a0 100755..100644 --- a/2004-en-alt/ithkuil-ch8-adjuncts.html +++ b/2004-en-alt/ithkuil-ch8-adjuncts.html @@ -109,11 +109,11 @@ additional types of adjuncts are introduced.</P> </TBODY></TABLE> </DIV> <P align="justify">The first type of adjunct we will analyze are those relating - to personal reference. By personal reference is meant the grammatical + to personal reference. By âpersonal referenceâ is meant the grammatical description of nouns by abbreviated forms of reference. In most languages, this is accomplished by means of personal pronouns (e.g., English he, she, it, I, you, him, her, mine, ours, etc.). Generally, personal pronouns are distinguished - by person (1st, 2nd , or 3rd) and case (e.g., compare English + by âpersonâ (1st, 2nd , or 3rd) and case (e.g., compare English we, us, and ours). Ithkuil accomplishes the equivalent function by means of personal reference adjuncts, of which there are two types: single-referent and dual-referent. </P> @@ -171,10 +171,10 @@ additional types of adjuncts are introduced.</P> <P align="justify"><STRONG>8.1.1.1 <IMG src="assets/8-1-1-1a.gif" width="23" height="20" align="absbottom"> <IMG src="assets/8-1-1-1b.gif" width="19" height="20" align="absbottom"> Monadic vs. Unbounded</STRONG>. These terms were discussed in detail in <A href="ithkuil-ch3-morphology.htm#Sec3o3">Sec. - 3.3</A> on Perspective. For simplicitys sake, the difference between + 3.3</A> on Perspective. For simplicityâs sake, the difference between a <FONT size="2">MONADIC</FONT> third party versus an <FONT size="2">UNBOUNDED</FONT> - third party can be thought of as the difference between he/she/it - and they.</P> + third party can be thought of as the difference between âhe/she/itâ + and âthey.â</P> <P align="justify"><STRONG>8.1.1.2 <IMG src="assets/8-1-1-2a.gif" width="16" height="19" align="absbottom"> <IMG src="assets/8-1-1-2b.gif" width="15" height="19" align="absbottom"> Speaker and Addressee</STRONG>. These terms refer respectively to the party @@ -182,22 +182,22 @@ additional types of adjuncts are introduced.</P> second person), and a third party being considered or mentioned (the third person). Unlike the standard six-person matrix common in Western grammar (the three persons divided into singular and plural), Ithkuil divides personal reference along - logical lines of inclusion versus exclusion in the speakers utterance. + logical lines of inclusion versus exclusion in the speakerâs utterance. </P> <P align="justify">From the viewpoint of Ithkuil grammar, only a single individual can speak. Even if there are two or more persons speaking the same utterance simultaneously it is but a collection of single individuals, each of which is - one speaker. Therefore, the first person of Ithkuil, the speaker, + one speaker. Therefore, the âfirst personâ of Ithkuil, the speaker, can be only <FONT size="2">MONADIC</FONT>, never <FONT size="2">UNBOUNDED</FONT>. - Thus, in Ithkuil, there is no true equivalent to the word we, - since inherent in the various categories which translate we is - the concept of I plus some other entity or entities. From this - we can begin to see how it is the idea of inclusion or exclusion in the speakers + Thus, in Ithkuil, there is no true equivalent to the word âwe,â + since inherent in the various categories which translate âweâ is + the concept of âI plus some other entity or entities.â From this + we can begin to see how it is the idea of inclusion or exclusion in the speakerâs utterance that determines the various personal reference categories.</P> -<P align="justify">The second person in Ithkuil is the addressee, +<P align="justify">The âsecond personâ in Ithkuil is the addressee, the person(s) being addressed or spoken to. There can be one addressee, or more than one addressee, i.e., <FONT size="2">MONADIC</FONT> or <FONT size="2">UNBOUNDED</FONT>.</P> -<P align="justify">The third person in Ithkuil is where things get +<P align="justify">The âthird personâ in Ithkuil is where things get very complicated, in that a party being referenced who is not the speaker or the addressee can have many distinctions, including the presence or absence of animacy, being <FONT size="2">MONADIC</FONT> versus <FONT size="2">UNBOUNDED</FONT>, @@ -213,18 +213,18 @@ additional types of adjuncts are introduced.</P> distinction between gender (he vs. she) found in most Western languages does not exist in the Ithkuil personal reference system. </P> <P align="justify"><STRONG>8.1.1.4 <IMG src="assets/8-1-1-4.gif" width="26" height="20" align="absbottom"> - Mixed Third-Party Reference</STRONG>. It is possible for the third + âMixedâ Third-Party Reference</STRONG>. It is possible for the third party being referenced to be two or more entities of different natures. For - example a speaker could make reference to I, you, and they where - they consists of a group consisting of one person (i.e., a monadic + example a speaker could make reference to âI, you, and theyâ where + âtheyâ consists of a group consisting of one person (i.e., a monadic animate entity), three boxes (i.e., a polyadic inanimate entity), and an intangible - concept such as happiness (i.e., an abstract entity). In such - cases, Ithkuil personal reference categories provide for such mixed + concept such as âhappinessâ (i.e., an abstract entity). In such + cases, Ithkuil personal reference categories provide for such âmixedâ parties to be included in a particular personal referent.</P> <P align="justify"><STRONG>8.1.1.5 <IMG src="assets/8-1-1-5.gif" width="25" height="20" align="absbottom"> Collective Reference</STRONG>. This corresponds to the <FONT size="2">NOMIC</FONT> Perspective in which a noun can be spoken of as a generic collective. For example, - the word dog in the sentence <EM>The dog is a noble beast</EM> + the word âdogâ in the sentence <EM>The dog is a noble beast</EM> refers to all dogs in a collective sense, not any dog in particular. This <FONT size="2">COLLECTIVE</FONT> category has its own set of personal reference affixes in Ithkuil, depending on what other entities are included in the context of the utterance.</P> @@ -232,7 +232,7 @@ additional types of adjuncts are introduced.</P> Abstract Reference</STRONG>. This corresponds to the <FONT size="2">ABSTRACT</FONT> perspective, equivalent to derivational abstract forms such as English nouns ending with -<EM>hood</EM>, -<EM>ness</EM>, etc. In Ithkuil, all nouns can be - spoken of in this abstract sense (e.g., <EM>bookhood</EM> = the + spoken of in this abstract sense (e.g., <EM>âbookhoodâ</EM> = the sense of being or functioning as a book), and the personal reference system provides affixes for this category whose form again depends on what other entities are included in the context of the utterance.</P> @@ -241,9 +241,9 @@ additional types of adjuncts are introduced.</P> Western languages, although it is found in various Native American languages. It refers to a third party referent other than one previously mentioned, which would otherwise be identically marked. In Native American grammatical treatises, - this category is usually termed the obviative or fourth person. + this category is usually termed the obviative or âfourthâ person. For example, the English sentence <EM>He saw his book</EM> is ambiguous because - we are uncertain whether he and his refer to the + we are uncertain whether âheâ and âhisâ refer to the same person or to two different persons (i.e., one who did the seeing and another who owns the book). In Ithkuil, no such ambiguity occurs because the latter third person referent, if a distinct person from the initial third person referent, @@ -256,32 +256,32 @@ additional types of adjuncts are introduced.</P> Indefinite Reference</STRONG>. This category indicates that the third party refers to any third party within the specified parameters. For example, the referent <EM></EM> <IMG src="assets/8-1-1-8b.gif" width="47" height="20" align="absbottom"> - indicates an indefinite animate party, i.e., English anyone or - anybody, while the referent <IMG src="assets/8-1-1-8c.gif" width="48" height="20" align="absbottom"> - indicates an indefinite inanimate party, i.e., English anything. + indicates an indefinite animate party, i.e., English âanyoneâ or + âanybody,â while the referent <IMG src="assets/8-1-1-8c.gif" width="48" height="20" align="absbottom"> + indicates an indefinite inanimate party, i.e., English âanything.â </P> <P align="justify"><STRONG>8.1.1.9 <IMG src="assets/8-1-1-9a.gif" width="20" height="20" align="absbottom"> Universal Reference</STRONG>. This category indicates that the third party refers to every third party within the specified parameters. For example, the referent <STRONG> <EM>-l</EM></STRONG> <IMG src="assets/8-1-1-9b.gif" width="20" height="20" align="absbottom"> - indicates a universal animate party, i.e., English everyone or - everybody, while the referent <EM><STRONG>-lŻ</STRONG></EM> + indicates a universal animate party, i.e., English âeveryoneâ or + âeverybody,â while the referent <EM><STRONG>-lĹť</STRONG></EM> <IMG src="assets/8-1-1-9c.gif" width="16" height="20" align="absbottom"> - indicates a universal inanimate party, i.e., English everything. + indicates a universal inanimate party, i.e., English âeverything.â </P> <P align="justify"><STRONG>8.1.1.10 <IMG src="assets/8-1-1-10.gif" width="26" height="20" align="absbottom"> Impersonal Reference</STRONG>. This category corresponds to the German pronoun <EM>man</EM> or French pronoun <EM>on</EM>, as well as the various circumlocutions - used in English to describe impersonal reference (e.g., one, you, - they, the passive voice, and certain usages of someone). + used in English to describe impersonal reference (e.g., âone,â âyou,â + âthey,â the passive voice, and certain usages of âsomeoneâ). Such impersonal reference is illustrated in the following English sentences:</P> <BLOCKQUOTE> -<P align="justify"><EM><STRONG>ˇ</STRONG> <STRONG>One</STRONG> should +<P align="justify"><EM><STRONG>¡</STRONG> <STRONG>One</STRONG> should never speak to clowns alone.<BR> - <STRONG>ˇ</STRONG> To dance the tango <STRONG>you</STRONG> need a partner.<BR> - <STRONG>ˇ</STRONG> <STRONG>They</STRONG> say it never rains in August.<BR> - <STRONG>ˇ</STRONG> That town <STRONG>is said</STRONG> to be haunted.<BR> - <STRONG>ˇ</STRONG> She just wants to talk to <STRONG>someone</STRONG> + <STRONG>¡</STRONG> To dance the tango <STRONG>you</STRONG> need a partner.<BR> + <STRONG>¡</STRONG> <STRONG>They</STRONG> say it never rains in August.<BR> + <STRONG>¡</STRONG> That town <STRONG>is said</STRONG> to be haunted.<BR> + <STRONG>¡</STRONG> She just wants to talk to <STRONG>someone</STRONG> without being criticized.</EM></P> </BLOCKQUOTE> <P align="justify"><STRONG>8.1.1.11 Inclusivity vs. Exclusivity</STRONG>. Since @@ -289,12 +289,12 @@ additional types of adjuncts are introduced.</P> addressee(s), and any third party is included or excluded in the context of the utterance, there are many possible personal reference distinctions possible in Ithkuil for which English has no equivalent pronouns. Such exacting distinctions - would have to be made periphrastically in English, e.g., instead of saying we, - the speaker would have to specify the two of us, or I and - he but not you, or I, you, and they. Similarly, the English - word you breaks down into specific meanings equivalent to you - (singular), you (plural), you (singular) and it, - you and those people, you and those things, etc.</P> + would have to be made periphrastically in English, e.g., instead of saying âwe,â + the speaker would have to specify âthe two of us,â or âI and + he but not you,â or âI, you, and they.â Similarly, the English + word âyouâ breaks down into specific meanings equivalent to âyou + (singular),â âyou (plural),â âyou (singular) and it,â + âyou and those people,â âyou and those things,â etc.</P> <H3 align="justify"><BR> 8.1.2 Single-Referent Personal Reference Adjuncts<A name="Sec8o1o2"></A></H3> <P align="justify">Adjuncts with one personal referent are termed single-referent @@ -387,7 +387,7 @@ additional types of adjuncts are introduced.</P> =</DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">vocalic suffix showing Context for Referent 1: <STRONG>-a</STRONG> = EXS; <STRONG>-u</STRONG> - = FNC; <STRONG>-ű</STRONG> = SYM; <STRONG>-â</STRONG> + = FNC; <STRONG>-Ĺą</STRONG> = SYM; <STRONG>-â</STRONG> = AMG</FONT></TD> </TR> <TR valign="top"> @@ -487,7 +487,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> which indicates the degree of <IMG src="assets/8-1-2o.gif" width="17" height="14" align="absbottom">. The values of <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/8-1-2n.gif" width="17" height="15" align="absmiddle"></FONT></STRONG> are shown in Table 26 below. The affix-type <IMG src="assets/8-1-2o.gif" width="17" height="14" align="absbottom"> - of is shown by the adjuncts stress pattern. Optional terms are <IMG src="assets/8-1-2p.gif" width="23" height="16" align="absbottom">, + of is shown by the adjunctâs stress pattern. Optional terms are <IMG src="assets/8-1-2p.gif" width="23" height="16" align="absbottom">, one of four vocalic suffixes showing the Context of the personal referent, and <IMG src="assets/8-1-2q.gif" width="17" height="15" align="absbottom">, a consonantal bias affix previously introduced in <A href="ithkuil-ch6-moreverbs.htm#Sec6o6">Sec. @@ -509,7 +509,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> <TD width="85%"><TABLE width="82%" border="1" cellpadding="3"> <TBODY><TR> <TD width="54%">Degree 1</TD> - <TD width="46%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ď</FONT></STRONG></DIV></TD> + <TD width="46%"><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ä</FONT></STRONG></DIV></TD> </TR> <TR> <TD>Degree 2</TD> @@ -517,7 +517,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> <TR> <TD>Degree 3</TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ë</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ĂŤ</FONT></STRONG></DIV></TD> </TR> <TR> <TD>Degree 4</TD> @@ -529,7 +529,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> <TR> <TD>Degree 6 </TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ö</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ăś</FONT></STRONG></DIV></TD> </TR> <TR> <TD>Degree 7</TD> @@ -537,7 +537,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> <TR> <TD>Degree 8</TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG></DIV></TD> </TR> <TR> <TD>Degree 9 </TD> @@ -565,10 +565,10 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> a personal referent, just as an affix category would normally apply to the formative to which it is affixed. This allows personal referents to be spoken of in contexts created by affix categories, such as when combining -<STRONG>V<FONT size="1">1</FONT><IMG src="assets/Cv.gif" width="9" height="15" align="absmiddle">/7</STRONG> - there (by addressee) with <STRONG><FONT face="Arial, Helvetica, sans-serif">paw(a)</FONT></STRONG> + âthere (by addressee)â with <STRONG><FONT face="Arial, Helvetica, sans-serif">paw(a)</FONT></STRONG> <IMG src="assets/8-1-2-3.gif" width="49" height="18" align="absbottom"> to give the form <STRONG><FONT face="Arial, Helvetica, sans-serif">pawo<IMG src="assets/Cv.gif" width="9" height="15" align="baseline"></FONT></STRONG> - meaning you people there. </P> + meaning âyou people there.â </P> <DIV align="justify"><STRONG>8.1.2.4 Examples of Single-Referent Personal Reference Adjuncts in Use </STRONG> <BLOCKQUOTE> <IMG src="assets/8-1-2-4a.gif" width="433" height="682"><BR> @@ -592,9 +592,9 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> <TBODY><TR valign="top"> <TD width="46%" height="55" valign="top"><STRONG>Form 3:</STRONG> <BR> <IMG src="assets/8-1-3a.gif" width="331" height="19"> </TD> - <TD><P>Examples: <STRONG>pawik</STRONG><BR> - <FONT color="#FFFFFF">Examples: </FONT><STRONG>űksaiwénz</STRONG><BR> - <FONT color="#FFFFFF">Examples: </FONT><STRONG>ççäyokluss</STRONG></P> + <TD><P>Examples: <STRONG>pâawik</STRONG><BR> + <FONT color="#FFFFFF">Examples: </FONT><STRONG>ĹąksaiwĂŠnz</STRONG><BR> + <FONT color="#FFFFFF">Examples: </FONT><STRONG>ççäyokluss</STRONG></P> </TD> </TR> <TR valign="top"> @@ -645,7 +645,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> =</DIV></TD> <TD><FONT size="2" face="Arial, Helvetica, sans-serif">vocalic suffix showing Affiliation of Referent 2: -<STRONG>a</STRONG> = CSD, -<STRONG>u</STRONG> - = ASO, -<STRONG>ű</STRONG> = VAR, -<STRONG>â</STRONG> + = ASO, -<STRONG>Ĺą</STRONG> = VAR, -<STRONG>â</STRONG> = COA</FONT></TD> </TR> <TR valign="top"> @@ -722,13 +722,13 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> <TR> <TD><DIV align="center">AMG</DIV></TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ä</FONT></STRONG></DIV></TD> </TR> <TR> <TD rowspan="4"><DIV align="center"><FONT face="Arial, Helvetica, sans-serif">+FR<BR> FORMAL</FONT></DIV></TD> <TD><DIV align="center">EXS</DIV></TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ď</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ä</FONT></STRONG></DIV></TD> </TR> <TR> <TD><DIV align="center">FNC</DIV></TD> @@ -736,11 +736,11 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> <TR> <TD><DIV align="center">RPS</DIV></TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ë</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ĂŤ</FONT></STRONG></DIV></TD> </TR> <TR> <TD><DIV align="center">AMG</DIV></TD> - <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">ü</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">Ăź</FONT></STRONG></DIV></TD> </TR> </TBODY></TABLE> <P align="justify"> <IMG src="assets/8-1-3d.gif" width="14" height="17" align="absbottom"> @@ -754,7 +754,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> renders the composite prefix <FONT face="Arial, Helvetica, sans-serif"><STRONG>sf</STRONG></FONT>-, while the combination of the prefix <STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG>- with the prefix <FONT face="Arial, Helvetica, sans-serif"><STRONG>q</STRONG></FONT>- - gives the composite <FONT face="Arial, Helvetica, sans-serif"><STRONG>t</STRONG></FONT>-. + gives the composite <FONT face="Arial, Helvetica, sans-serif"><STRONG>tâ</STRONG></FONT>-. Table 30 below illustrates how the 23 single-consonant prefixes combine with each other.</P> <P><STRONG><FONT face="Arial, Helvetica, sans-serif">Table 30: Personal Reference @@ -852,16 +852,16 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> composite prefixes from <A href="ithkuil-ch8-adjuncts.htm#Table30">Table 30</A> under the following circumstance: to show that two different parties are governed by the same case and participate equally with the verb, equivalent to connecting two pronouns - in English by and as in <EM>He and I went to the store</EM> or - <EM>The man looked at them and me</EM>. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">ksauŻ</FONT></STRONG>, - <FONT face="Arial, Helvetica, sans-serif"> <STRONG>xnű</STRONG></FONT>, + in English by âandâ as in <EM>He and I went to the store</EM> or + <EM>The man looked at them and me</EM>. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">ksauĹť</FONT></STRONG>, + <FONT face="Arial, Helvetica, sans-serif"> <STRONG>xnĹą</STRONG></FONT>, <FONT face="Arial, Helvetica, sans-serif"> <STRONG>hhea<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></STRONG></FONT>. Note in the last example <FONT face="Arial, Helvetica, sans-serif"><STRONG>hhea<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></STRONG></FONT> how the combination of a low-toned referent and a high-toned referent combines to give a rising-toned adjunct.</P> <P align="justify"> <STRONG>8.1.3.2 Illustration of a Dual-Referent Adjunct</STRONG>: Based on the above information, we can now analyze an example dual-referent - adjunct <STRONG><FONT face="Arial, Helvetica, sans-serif"><EM>diawŕsműç</EM></FONT></STRONG><IMG src="assets/tone-rising.gif" width="10" height="10" align="top">:</P> + adjunct â <STRONG><FONT face="Arial, Helvetica, sans-serif"><EM>diawĹsmŹç</EM></FONT></STRONG><IMG src="assets/tone-rising.gif" width="10" height="10" align="top">:</P> <TABLE width="95%" border="0" cellpadding="0"> <TBODY><TR valign="top"> <TD width="8%" height="39"> <DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>( @@ -877,15 +877,15 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> <TD> <DIV align="center">=</DIV></TD> <TD>combination of Referent No. 1, <STRONG><FONT face="Arial, Helvetica, sans-serif">t</FONT></STRONG>- <IMG src="assets/8-1-3-2a.gif" width="24" height="21" align="absbottom">, - plus Referent No. 2, <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom">Ż</STRONG></FONT>- + plus Referent No. 2, <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/n-cedilla.gif" width="10" height="14" align="absbottom">Ĺť</STRONG></FONT>- <IMG src="assets/8-1-3-2b.gif" width="46" height="21" align="absbottom"> </TD> </TR> <TR valign="top"> <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-iaw-</STRONG></FONT></DIV></TD> <TD> <DIV align="center">=</DIV></TD> - <TD><FONT size="2">PROLATIVE</FONT> case infix (meaning along [the - surface of] X) for Referent No. 1</TD> + <TD><FONT size="2">PROLATIVE</FONT> case infix (meaning âalong [the + surface of] Xâ) for Referent No. 1</TD> </TR> <TR valign="top"> <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-a-</STRONG></FONT></DIV></TD> @@ -900,12 +900,12 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> configuration for Referent No. 2</TD> </TR> <TR valign="top"> - <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-ű-</STRONG></FONT></DIV></TD> + <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-Ĺą-</STRONG></FONT></DIV></TD> <TD> <DIV align="center">=</DIV></TD> <TD><FONT size="2">VARIATIVE</FONT> affiliation for Referent No. 2</TD> </TR> <TR valign="top"> - <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-ç</STRONG></FONT></DIV></TD> + <TD><DIV align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG>-ç</STRONG></FONT></DIV></TD> <TD> <DIV align="center">=</DIV></TD> <TD><FONT size="2">REACTIVE</FONT> bias</TD> </TR> @@ -920,8 +920,8 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> [= along my body] + <EM>what belongs to a rag-tag amalgamation of you</EM> (singular) <EM>and all those things</EM> + [sense of surprise].</P> <P align="justify">While such a word might seem contrived at first, it nevertheless - proves quite functional in a sentence such as the following (which a Star Trek<FONT size="2">Š</FONT> - character might say to a Borg after the latter has produced an assimilated + proves quite functional in a sentence such as the following (which a Star Trek<FONT size="2">Š</FONT> + character might say to a Borg after the latter has produced an âassimilatedâ spider from its pocket and let it loose during the night):</P> <BLOCKQUOTE> <P><IMG src="assets/8-1-3-2d.gif" width="136" height="25"><BR> @@ -950,7 +950,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> party relevant to a discourse, even to a third party not previously mentioned.</P> <TABLE width="75%" border="1" cellpadding="3"> <TBODY><TR> - <TD width="11%" height="29">-V<FONT size="1">2<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></TD> + <TD width="11%" height="29">-V<FONT size="1">2<FONT color="#FFFFFF">_</FONT></FONT><FONT size="4" face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></TD> <TD width="7%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>SWR</STRONG></DIV></TD> <TD width="82%">Switch Reference & Obviative Specification </TD> </TR> @@ -1017,7 +1017,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> for these 23 consonants (from which the 46 categories are derived) is shown by distinguishing between the V+C standard form of the suffix and its reversed C+V form (see <A href="ithkuil-ch7a-affixes.htm#Sec7o5o2">Sec. 7.5.2</A> on - the reversed form of suffixes). Unlike other -V<FONT size="1">3</FONT>C + the âreversedâ form of suffixes). Unlike other -V<FONT size="1">3</FONT>C suffixes, there are no -V<FONT size="1">1</FONT>C or -V<FONT size="1">2</FONT>C counterparts to these suffixes (or rather, the -V<FONT size="1">1</FONT>C or -V<FONT size="1">2</FONT>C counterparts have completely different meanings and @@ -1086,20 +1086,20 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> </TR> </TBODY></TABLE> <P align="justify"> Subsidiary adjuncts refer to adjuncts which are essentially - subsets or pieces of the conflation adjunct first introduced in + subsets or âpiecesâ of the conflation adjunct first introduced in Chapter 5. Conflation adjuncts comprise the morphological categories of Derivation, Valence, Version, Format, Modality and Level, and are of the form <STRONG>CN - + VV + CK + Vm [+ tone]</STRONG>, exemplified by the word <STRONG>tuilliaŻ - = t+ui+ll+ia+Ż</STRONG>.<BR> + + VV + CK + Vm [+ tone]</STRONG>, exemplified by the word <STRONG>tâuilliaĹť + = tâ+ui+ll+ia+Ĺť</STRONG>.<BR> However, it is possible to take this same adjunct and present only select portions of it. We already saw this in Sec. 5.2 when we were introduced to valence adjuncts, - which are essentially composed of the VV + CK subset of a conflation + which are essentially composed of the VV + CK âsubsetâ of a conflation adjunct. Similarly we can have simple modality adjuncts of the form <STRONG>Vm - [+ tone]</STRONG> as in the word <STRONG>iaŻ</STRONG> which also shows + [+ tone]</STRONG> as in the word <STRONG>iaĹť</STRONG> which also shows the category of Level (via the tone indication). A simple format adjunct is possible by simply using CK by itself as a word, e.g., <STRONG>ll</STRONG>. To this can be added the <STRONG>Vm [+ tone]</STRONG> increment to provide a - subsidiary adjunct showing Format, Modality and Level, as in <STRONG>lliaŻ</STRONG>.</P> + subsidiary adjunct showing Format, Modality and Level, as in <STRONG>lliaĹť</STRONG>.</P> <P align="justify"> </P> <DIV align="justify"> @@ -1125,13 +1125,13 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> or <FONT face="Arial, Helvetica, sans-serif"><STRONG>y</STRONG></FONT>- plus tone (the tone pattern is shown in Table 32 below). This is followed by one of the 32 aspect suffixes from <A href="ithkuil-ch6-moreverbs.htm#Table19">Table - 19 in Sec. 6.4.1</A>. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">wea</FONT></STRONG>Ż, - <FONT face="Arial, Helvetica, sans-serif"> <STRONG>yaď</STRONG></FONT><IMG src="assets/tone-broken.gif" width="10" height="10" align="top">. + 19 in Sec. 6.4.1</A>. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">wea</FONT></STRONG>Ĺť, + <FONT face="Arial, Helvetica, sans-serif"> <STRONG>yaÄ</STRONG></FONT><IMG src="assets/tone-broken.gif" width="10" height="10" align="top">. Note that, in the absence of an aspectual adjunct (which normally shows mood), this simple element can function by itself as a <STRONG>mood adjunct</STRONG> by simply using the neutral -<STRONG>V<FONT size="1">S</FONT></STRONG> suffix, e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">wa</FONT></STRONG>, - <FONT face="Arial, Helvetica, sans-serif"> <STRONG>ya</STRONG></FONT>Ż.</P> + <FONT face="Arial, Helvetica, sans-serif"> <STRONG>ya</STRONG></FONT>Ĺť.</P> <H3 align="justify"><FONT face="Arial, Helvetica, sans-serif"><STRONG><BR> Table 32: Consonant + Tone Values for Mood Adjuncts and Mood+Aspect Adjuncts</STRONG></FONT><BR> <BR> @@ -1175,7 +1175,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> in Section 6.5</DIV></TD> </TR> </TBODY></TABLE> -<P> Example: <FONT face="Arial, Helvetica, sans-serif"><STRONG>oweiç<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></STRONG></FONT>.</P> +<P> Example: <FONT face="Arial, Helvetica, sans-serif"><STRONG>oweiç<IMG src="assets/tone-rising.gif" width="10" height="10" align="top"></STRONG></FONT>.</P> <P><BR> <STRONG><FONT face="Arial, Helvetica, sans-serif">Table 33: V<FONT size="2">j</FONT> Format + Level Vocalic Infixes for Combination Adjuncts</FONT></STRONG><BR> @@ -1191,7 +1191,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> forms of the Format/Focus infix from Table 33 above are now used to indicate <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o1">affix-type</A> instead of Level. Examples: <STRONG><FONT face="Arial, Helvetica, sans-serif">psiyoul</FONT></STRONG>, - <STRONG> <FONT face="Arial, Helvetica, sans-serif">juwämm</FONT></STRONG>. + <STRONG> <FONT face="Arial, Helvetica, sans-serif">juwäâmm</FONT></STRONG>. </P><P> </P> <TABLE width="99%" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> @@ -1202,36 +1202,36 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> removed from the formative and positioned as an adjacent adjunct for purposes of euphony. Additionally, since affix categories represent common concepts generally applicable to many contexts, an affixual adjunct can also be informally used - as a short cut method of conveying a notion, essentially as an + as a âshort cutâ method of conveying a notion, essentially as an abbreviated one-word sentence somewhat like an interjection or exclamation in English, thus conveying the concept of the affix category. For example, the affix -<STRONG>V<FONT size="1">1</FONT><IMG src="assets/Jv.gif" width="9" height="20" align="absmiddle">/7</STRONG> - connotes disappointing typicality, but as an affixual adjunct, <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Jv.gif" width="9" height="20" align="absmiddle">ď<FONT color="#FFFFFF" size="1">.</FONT>a</STRONG></FONT>, + connotes disappointing typicality, but as an affixual adjunct, <FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Jv.gif" width="9" height="20" align="absmiddle">Ä<FONT color="#FFFFFF" size="1">.</FONT>âa</STRONG></FONT>, it can be used by itself as an informal expression translatable by the English phrase <EM>How typical!</EM></P> <H3 align="justify"><BR> 8.4.1 Forms for Single- and Dual-Affix Adjuncts </H3> -<P align="justify">The form of a single-affix affixual adjunct is <FONT face="Arial, Helvetica, sans-serif"><STRONG>CVa</STRONG></FONT>, +<P align="justify">The form of a single-affix affixual adjunct is <FONT face="Arial, Helvetica, sans-serif"><STRONG>CVâa</STRONG></FONT>, where <FONT face="Arial, Helvetica, sans-serif">CV</FONT> represents the word-final - reversed form of a standard suffix for formatives from <A href="ithkuil-ch7a-affixes.htm#Sec7o7">Sec. + âreversedâ form of a standard suffix for formatives from <A href="ithkuil-ch7a-affixes.htm#Sec7o7">Sec. 7.7</A> (see <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o2">Secs. 2.7.2</A> and <A href="ithkuil-ch7a-affixes.htm#Sec7o5o2">7.5.2</A> on the alternate - reversed forms of suffixes). So, for example, the suffix -<STRONG><FONT face="Arial, Helvetica, sans-serif">eu</FONT></STRONG><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>/<IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT>iu - </STRONG></FONT>(i.e., -<STRONG>V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"></FONT></FONT>/4</STRONG>) - becomes the autonomous word <IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>iua</STRONG></FONT>, - meaning scattered all around here.</P> -<P align="justify">The form for a dual-affix affixual adjunct is <FONT face="Arial, Helvetica, sans-serif"><STRONG>CVVC</STRONG></FONT>, + âreversedâ forms of suffixes). So, for example, the suffix -<STRONG><FONT face="Arial, Helvetica, sans-serif">eu</FONT></STRONG><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â/<IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT>iu + </STRONG></FONT>(i.e., -<STRONG>V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif">â</FONT></FONT>/4</STRONG>) + becomes the autonomous word <IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>âiuâa</STRONG></FONT>, + meaning âscattered all around here.â</P> +<P align="justify">The form for a dual-affix affixual adjunct is <FONT face="Arial, Helvetica, sans-serif"><STRONG>CVââVC</STRONG></FONT>, where the first part, <FONT face="Arial, Helvetica, sans-serif">CV</FONT>, is the same reversed form of a standard suffix as for the single-affix adjunct above. The second part, <FONT face="Arial, Helvetica, sans-serif">VC</FONT>, - represents the normal, unreversed form of a standard suffix. When + represents the ânormal,â unreversed form of a standard suffix. When pronouncing such an adjunct, it is important to geminate (i.e., double) the glottal stop, so as not to confuse the word with a simple formative in Secondary Mode, Series B vowel mutation (see <A href="ithkuil-ch2-morphophonology.htm#Sec2o5">Sec. 2.5</A>). So, combining the two suffixes -<STRONG>V<FONT size="1">2</FONT><FONT face="Arial, Helvetica, sans-serif">v</FONT>/7</STRONG> and -<STRONG>V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif">kt</FONT>/9</STRONG> - would give the adjunct <STRONG><FONT face="Arial, Helvetica, sans-serif">vëukt</FONT></STRONG>, - meaning probably this one.</P> + would give the adjunct <STRONG><FONT face="Arial, Helvetica, sans-serif">vĂŤââukt</FONT></STRONG>, + meaning âprobably this one.â</P> <H3 align="justify"><BR> 8.4.2 Combining Mood with Affixual Adjuncts</H3> <P align="justify">Using stress and tone, it becomes possible to combine Mood @@ -1253,7 +1253,7 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> <P align="justify">In looking at the tables in <A href="ithkuil-ch2-morphophonology.htm#Sec2o5">Sec. 2.5</A>, one can see that several vocalic mutational series cause an additional syllable to be added to a formative (e.g., <STRONG><FONT face="Arial, Helvetica, sans-serif">kad</FONT></STRONG> - <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kawed</STRONG></FONT>). + <IMG src="assets/arrow.gif" width="17" height="9"> <FONT face="Arial, Helvetica, sans-serif"><STRONG>kaâwed</STRONG></FONT>). For phonaesthetic purposes (see <A href="ithkuil-ch1-phonology.htm#Sec1o4o5">Sec. 1.4.5</A>), it may become desirable to eliminate this extra syllable in the formative by indicating the vocalic mutation series elsewhere. Ithkuil allows @@ -1287,25 +1287,25 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> <DIV align="center"><FONT size="2">Series J</FONT></DIV></TD> </TR> <TR> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG></STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>â</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>a-</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>i-</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>e-</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>u-</STRONG></FONT></DIV></TD> <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>o-</STRONG></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ö-</STRONG></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ë-</STRONG></FONT></DIV></TD> - <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä-</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>Ăś-</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ĂŤ-</STRONG></FONT></DIV></TD> + <TD><DIV align="center"><FONT face="Arial, Helvetica, sans-serif"><STRONG>ä-</STRONG></FONT></DIV></TD> </TR> </TBODY></TABLE> <P align="justify"><FONT size="2"> </FONT> To illustrate this process for the - two example adjuncts <IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>iua - </STRONG></FONT>and<FONT face="Arial, Helvetica, sans-serif"><STRONG> <FONT face="Arial, Helvetica, sans-serif">vëukt</FONT></STRONG></FONT>, - adding Series B and Series G mutation respectively results in the forms <FONT face="Arial, Helvetica, sans-serif"><STRONG>a</STRONG></FONT><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>iua + two example adjuncts <IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>âiuâa + </STRONG></FONT>and<FONT face="Arial, Helvetica, sans-serif"><STRONG> <FONT face="Arial, Helvetica, sans-serif">vĂŤââukt</FONT></STRONG></FONT>, + adding Series B and Series G mutation respectively results in the forms <FONT face="Arial, Helvetica, sans-serif"><STRONG>a</STRONG></FONT><IMG src="assets/Cv.gif" width="9" height="15" align="baseline"><FONT face="Arial, Helvetica, sans-serif"><STRONG>âiuâa </STRONG></FONT>and<FONT face="Arial, Helvetica, sans-serif"><STRONG><FONT face="Arial, Helvetica, sans-serif"> - övëukt</FONT></STRONG></FONT>. Illustrating the process - for conflation adjuncts, the adjunct <FONT face="Arial, Helvetica, sans-serif"><STRONG>puim<IMG src="assets/m-acute.gif" width="12" height="17" align="absmiddle">ű</STRONG></FONT> - plus Series C mutation becomes <STRONG><FONT face="Arial, Helvetica, sans-serif">i</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>puim<IMG src="assets/m-acute.gif" width="12" height="17" align="absmiddle">ű</STRONG></FONT>.</P> + ĂśvĂŤââukt</FONT></STRONG></FONT>. Illustrating the process + for conflation adjuncts, the adjunct <FONT face="Arial, Helvetica, sans-serif"><STRONG>pâuim<IMG src="assets/m-acute.gif" width="12" height="17" align="absmiddle">Ĺą</STRONG></FONT> + plus Series C mutation becomes <STRONG><FONT face="Arial, Helvetica, sans-serif">i</FONT></STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG>pâuim<IMG src="assets/m-acute.gif" width="12" height="17" align="absmiddle">Ĺą</STRONG></FONT>.</P> <P> </P> <TABLE width="100%" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> @@ -1337,24 +1337,24 @@ for Personal Reference Adjuncts <A name="Table24"></A><BR> 8.6.2 Informal Bias Adjuncts<A name="Sec8o6o2"></A></H3> <P align="justify">Just as affixual adjuncts can stand on their own as informal expressions, so can the consonantal Bias affixes (shown Table 20 of <A href="ithkuil-ch6-moreverbs.htm#Sec6o6o1">Sec. - 6.6.1</A>) be used autonomously to informally convey ones attitude toward + 6.6.1</A>) be used autonomously to informally convey oneâs attitude toward a situation. For example, if one wishes to convey a sense of awe, one could state the Ithkuil equivalent to the sentence, <EM>I feel a sense of awe!</EM> - or one can simply hiss out a long <STRONG>s</STRONG>-sound, <FONT face="Arial, Helvetica, sans-serif"><STRONG>ss</STRONG></FONT>, + or one can simply hiss out a long <STRONG>s</STRONG>-sound, â<FONT face="Arial, Helvetica, sans-serif"><STRONG>ss</STRONG></FONT>,â which is the intensive form of the affix for the <FONT size="2">STUPEFACTIVE</FONT> bias category, whose translation can be approximated by the English expressions - Well, Ill be! or Who wouldve thought?!</P> + âWell, Iâll be!â or âWho wouldâve thought?!â</P> <P align="justify">Other examples would be the expression <IMG src="assets/r-cedilla geminate.gif" width="16" height="12" align="absbottom"> to signify fulfillment and contentment, the equivalent to a long sigh of satisfaction - ahhh in English; or the expression <FONT face="Arial, Helvetica, sans-serif"><STRONG>k</STRONG></FONT> - to convey contempt and disgust, similar to English Poppycock! - or What bullshit!</P> + âahhhâ in English; or the expression <FONT face="Arial, Helvetica, sans-serif"><STRONG>kĹĄĹĄ</STRONG></FONT> + to convey contempt and disgust, similar to English âPoppycock!â + or âWhat bullshit!â</P> <P align="justify">It is even possible to combine two biases into a single bias - adjunct, using the form <STRONG>C+ď+C</STRONG>, where each <STRONG>C</STRONG> + adjunct, using the form <STRONG>C+Ä+C</STRONG>, where each <STRONG>C</STRONG> represents a single consonantal bias affix. For example, combining the intensive forms of the <FONT size="2">REVELATIVE</FONT> and the <FONT size="2">ASSURATIVE</FONT> - biases gives the adjunct <FONT face="Arial, Helvetica, sans-serif"><STRONG>llďnn</STRONG></FONT>, - translatable as Aha! I told you so!</P> + biases gives the adjunct <FONT face="Arial, Helvetica, sans-serif"><STRONG>llÄnn</STRONG></FONT>, + translatable as âAha! I told you so!â</P> <P align="justify"> </P> <P align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG><A href="ithkuil-ch9-syntax.html">Proceed to Chapter 9: Syntax >></A></STRONG></FONT></P> @@ -1413,7 +1413,7 @@ to Chapter 9: Syntax >></A></STRONG></FONT></P> <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> </TR> </TBODY></TABLE> -<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> diff --git a/2004-en-alt/ithkuil-ch9-syntax.html b/2004-en-alt/ithkuil-ch9-syntax.html index 239b2b5..95f6d7f 100755..100644 --- a/2004-en-alt/ithkuil-ch9-syntax.html +++ b/2004-en-alt/ithkuil-ch9-syntax.html @@ -84,7 +84,7 @@ <TD><FONT size="2"><A href="ithkuil-ch9-syntax.htm#Sec9o3">9.3 Morpho-Semantic Considerations</A></FONT></TD> </TR> <TR> - <TD height="17"><FONT size="2"><A href="ithkuil-ch9-syntax.htm#Sec9o4">9.4 The Carrier + <TD height="17"><FONT size="2"><A href="ithkuil-ch9-syntax.htm#Sec9o4">9.4 The âCarrierâ Root</A></FONT></TD> </TR> </TBODY></TABLE> @@ -107,7 +107,7 @@ </LI> <LI><STRONG>Pragmatic role</STRONG>: This refers to the function of a word or phrase in relation to its predicate or the rest of the sentence in terms - of whether and how it represents given versus new + of whether and how it represents âgivenâ versus ânewâ information, i.e., whether or not the word or phrase represents background information already known to the addressee, or whether it represents new information previously unknown to the addressee. Three such roles or relations @@ -119,11 +119,11 @@ refers to whatever information in a sentence is new to the addressee, (i.e., not previously known), and has been discussed in detail in <A href="ithkuil-ch3-morphology.htm#Sec3o5">Sec. 3.5</A>. To illustrate these concepts, consider the sentence <EM>I can see - why Marys angry, but what about Bill?</EM> (i.e., <EM>What happened + why Maryâs angry, but what about Bill?</EM> (i.e., <EM>What happened to make Bill angry, too?</EM>). In the hypothetical answer <EM>Bill (or - He) is angry because he lost his keys</EM>, Bill (or he) - is the topic, is angry because he lost his keys is the comment, - and he lost his keys is the focus.<BR> + He) is angry because he lost his keys</EM>, âBillâ (or âheâ) + is the topic, âis angry because he lost his keysâ is the comment, + and âhe lost his keysâ is the focus.<BR> </LI> <LI><STRONG>Grammatical </STRONG>(or<STRONG> syntactical</STRONG>)<STRONG> relations</STRONG>: the arbitrary word-ordering rules of a language, irrespective @@ -141,7 +141,7 @@ syntax (one exception is the strong tendency for placing <EM>wh</EM>- question words in sentence-initial position in specialized questions, even if they represent a direct object, e.g., <EM>What have you done?</EM> or <EM>Who[m] are they talking - about?</EM>), however, such roles do tend to be marked supra-segmentally + about?</EM>), however, such roles do tend to be marked âsupra-segmentallyâ by inflection of vocal pitch and tone of voice. </P> <P align="justify">We have already seen the extreme to which Ithkuil marks semantic roles morphologically as opposed to syntactically. And since grammatial relations @@ -164,7 +164,7 @@ </TBODY></TABLE> <P align="justify">The highly inflected nature of Ithkuil morphology allows the order of words within a sentence to be quite flexible. Nevertheless, two neutral - or default patterns exist, one for main clauses, the other for + or âdefaultâ patterns exist, one for main clauses, the other for case frames. </P> <H3 align="justify"><BR> 9.1.1 Word Order Within Main Clauses</H3> @@ -192,7 +192,7 @@ cases, followed by nouns in non-transrelative cases. The last part of the clause consists of the verb in final position preceded by any aspectual adjunct, conflation (or valence) adjunct, and combination or affixual adjunct, in that order. As - for higher- versus lower- order transrelative nouns, + for âhigher-â versus âlower-â order transrelative nouns, this refers to the hierarchy or sequence of transrelative cases in which certain cases take precedence over others. This hierarchy is as follows:</P> <P align="justify"><FONT size="2">ERGATIVE <IMG src="assets/arrow.gif" width="17" height="9"> @@ -225,7 +225,7 @@ adjuncts, then any secondary nouns, followed by any transrelative nouns with the highest-order transrelative noun or any personal reference adjunct in final position within the case-frame. Additionally, the last noun within the case-frame - will usually take one of the <STRONG>V<FONT size="1">1</FONT></STRONG> + will usually take one of the <STRONG>âV<FONT size="1">1</FONT>â</STRONG> suffixes (see <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13">Sec. 7.7.13</A>) signifying the end of the case-frame unless this is clear without the suffix (e.g., because the case-frame is in sentence-final position). </P> @@ -241,7 +241,7 @@ <UL> <LI>Nouns in Attributive, Associative and Adverbial cases (see <A href="ithkuil-ch4-case.htm#Sec4o3">Secs. 4.3</A>, <A href="ithkuil-ch4-case.htm#Sec4o4">4.4</A> and <A href="ithkuil-ch4-case.htm#Sec4o5">4.5</A>) - which are dependent on, or in apposition to a head noun, must + which are dependent on, or in apposition to a âheadâ noun, must immediately precede or follow that head noun, unless the relationship between the two nouns is readily ascertainable without the two being in apposition.<BR> </LI> @@ -253,7 +253,7 @@ </LI> <LI>A case-frame cannot be broken apart into segments within a main sentence, i.e., the case-frame must constitute a single cohesive clause and not contain - elements of the main clause within it. It is possible to nest + elements of the main clause within it. It is possible to ânestâ a second case-frame within a case-frame, similar to the way in which subordinate or relative clauses can be nested in English and other Western languages, e.g., <EM>[Despite owning a Picasso [that comes from his Blue period] [of @@ -271,10 +271,10 @@ was described in <A href="ithkuil-ch1-phonology.htm#Sec1o4o5">Sec. 1.4.5</A>, words of six syllables or more are generally undesirable, therefore any formative with numerous affixes is potentially subject to having several of its morphemes - redistributed to adjuncts. As an example, the word <STRONG><FONT face="Arial, Helvetica, sans-serif">umreiquçî<IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle">îmën</FONT></STRONG> - series of bombs can separate out two of its four suffixes into - a separate word <FONT face="Arial, Helvetica, sans-serif"><STRONG>çuî<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></FONT></STRONG></FONT> - to give the form <FONT face="Arial, Helvetica, sans-serif"><STRONG>çuî<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></FONT></STRONG></FONT><FONT color="#FFFFFF">_</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>umreiqîmën</STRONG></FONT> + redistributed to adjuncts. As an example, the word <STRONG><FONT face="Arial, Helvetica, sans-serif">umreiquçÎ<IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle">ĂŽmĹĄĂŤn</FONT></STRONG> + âseries of bombsâ can separate out two of its four suffixes into + a separate word <FONT face="Arial, Helvetica, sans-serif"><STRONG>çuââĂŽ<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></FONT></STRONG></FONT> + to give the form <FONT face="Arial, Helvetica, sans-serif"><STRONG>çuââĂŽ<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Qv.gif" width="10" height="18" align="absmiddle"></FONT></STRONG></FONT><FONT color="#FFFFFF">_</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>umreiqĂŽmĹĄĂŤn</STRONG></FONT> whose morphological structure is <IMG src="assets/9-1-4.gif" width="331" height="21" align="absmiddle">.</P> <P align="justify">When ordering such phonaesthetically-induced adjuncts, it is important that they can be easily associated with the formative to which they @@ -287,25 +287,25 @@ understanding of what is being described, i.e., the order of the words themselves reflects information about how we are to understand the utterance. Such a phenomenon is known as <STRONG>iconicity</STRONG>. In English and other Western languages, - the most common way in which iconicity is manifested is what is termed sequential - order iconicity, the idea that the actual sequential order of words in + the most common way in which iconicity is manifested is what is termed âsequential + order iconicity,â the idea that the actual sequential order of words in a phrase or sentence reflects the sequential order of the events they describe. - For example, the phrases eye it, try it, buy it, I came, - I saw, I conquered, or dine and dash describe sequential + For example, the phrases âeye it, try it, buy it,â âI came, + I saw, I conquered,â or âdine and dashâ describe sequential events where the sequence of the words reflect the sequence of the events. What is most important is that re-ordering of the words either changes the meaning - of the phrase or leads to semantic nonsense, e.g., buy it, eye it, try - it implies that a different sequence of events actually takes place than - eye it, try it, buy it. This can be more dramatically illustrated + of the phrase or leads to semantic nonsense, e.g., âbuy it, eye it, try + itâ implies that a different sequence of events actually takes place than + âeye it, try it, buy it.â This can be more dramatically illustrated with the following pair of sentences.</P> <BLOCKQUOTE> <P align="justify">1) <EM>Jane got married and had a baby.</EM><BR> 2) <EM>Jane had a baby and got married.</EM></P> </BLOCKQUOTE> -<P align="justify">In English, the ambiguous word and is interpreted - as connecting a sequence of events, i.e., and is interpreted to - mean sequential then (= and following that, then - next or then later). As a result, the meanings of the two +<P align="justify">In English, the ambiguous word âandâ is interpreted + as connecting a sequence of events, i.e., âandâ is interpreted to + mean sequential âthenâ (= âand following that,â âthen + nextâ or âthen laterâ). As a result, the meanings of the two sentences imply very different social interpretations about Jane.</P> <P align="justify">Besides the reflection of sequential order, other types of word-order iconicity are possible. For example, compare the subtle difference @@ -319,8 +319,8 @@ painted before. In the second sentence, not only do we know what color the fence had been, but also that it was not previously unpainted, however, we do not necessarily know what its new color is. This sort of iconicity is used to convey - a resultative state of affairs, i.e., by placing the adjective white - after the word fence (seemingly in violation of the usual adjective-before-noun + a resultative state of affairs, i.e., by placing the adjective âwhiteâ + after the word âfenceâ (seemingly in violation of the usual adjective-before-noun word order used in English), we describe a resulting state of affairs.</P> <P align="justify">Yet another type of word-order iconicity is displayed in comparing the following two sentences.</P> @@ -329,21 +329,21 @@ 6) <EM>Loretta gave a wedding gift to Sue.</EM></P> </BLOCKQUOTE> <P align="justify">Most grammar textbooks would state that these two sentences - are semantically equivalent, the first employing a ditransitive - pattern (i.e., juxtaposing an indirect object Sue with a direct - object wedding gift), while the second uses a complement + are semantically equivalent, the first employing a âditransitiveâ + pattern (i.e., juxtaposing an indirect object âSueâ with a direct + object âwedding giftâ), while the second uses a âcomplementâ pattern in which the indirect object follows the direct object and is changed - to a prepositional phrase using to. However, there is a subtle + to a prepositional phrase using âto.â However, there is a subtle semantic distinction between the two sentences. The first strongly implies that the wedding gift is for Sue, i.e., Sue is the bride and intended recipient. The second sentence, however, invites the possibility that Sue is only a temporary or circumstantial goal for the act of giving, but not the bride and intended recipient. For example, if Sue is merely a guest at the wedding and Loretta - needed Sues help carrying an armload of wedding gifts, she might give + needed Sueâs help carrying an armload of wedding gifts, she might give a wedding gift <EM>to Sue</EM>, but that does not mean she would <EM>give Sue</EM> a wedding gift. This type of iconicity distinguishing a recipient from a directional - goal is an example of what is termed distance iconicity, because - the two linked words are made more distant from each other in + goal is an example of what is termed âdistance iconicity,â because + the two linked words are made more âdistantâ from each other in the sentence as a reflection of their more circumstantial association.</P> <P align="justify">Ithkuil does not display iconicity. While the order of words in an Ithkuil phrase or sentence may coincidentally reflect a temporal or causative @@ -352,21 +352,21 @@ resulting states, and the distinction of recipients from directional goals, no iconicity patterns are required.</P> <P align="justify">For example, we saw in sentences (1) and (2) above how English - and can be used to convey not just mere coordination, but also + âandâ can be used to convey not just mere coordination, but also a sequencing function. In <A href="ithkuil-ch7a-affixes.htm#Sec7o7o3">Sections 7.7.3</A> and <A href="ithkuil-ch7a-affixes.htm#Sec7o7o4">7.7.4</A>, we saw that Ithkuil has no less than thirty-six suffixes (four suffix categories, each with nine different degrees) which convey various coordinative and sequencing patterns with great specificity. Thus, Ithkuil has no morpheme directly equivalent - to the ambiguous English word and. There is an affix corresponding - to and in its use as a mere additive listing device (e.g., pears - and apples and bananas), another corresponding to its use as an indicator - of simultaneity (e.g., I clenched my fists and scowled), another - corresponding to its use as an indicator of additional information (e.g., The - clown likes children and loves to eat), another to its use as an indicator - of parallel description or activity (e.g., We went dancing and so did - they), and yet another as a temporal sequencing indicator (e.g., I - went to the window and looked out).</P> + to the ambiguous English word âand.â There is an affix corresponding + to âandâ in its use as a mere additive listing device (e.g., âpears + and apples and bananasâ), another corresponding to its use as an indicator + of simultaneity (e.g., âI clenched my fists and scowledâ), another + corresponding to its use as an indicator of additional information (e.g., âThe + clown likes children and loves to eatâ), another to its use as an indicator + of parallel description or activity (e.g., âWe went dancing and so did + theyâ), and yet another as a temporal sequencing indicator (e.g., âI + went to the window and looked outâ).</P> <P align="justify"> </P> <TABLE width="99%" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> @@ -383,7 +383,7 @@ in Ithkuil, word order changes are not necessary to distinguish new from background information in a sentence. Comparison between the word-order based system of English and the morphology based system of Ithkuil is analyzed in Sec. 9.2.1 - below. Additionally, while Ithkuils system for indicating topics and + below. Additionally, while Ithkuilâs system for indicating topics and semantic focus does not require changes in word order <EM>per se</EM>, it does allow for significant word deletion, creating abbreviated sentences which, in effect, modify the default word order of a sentence. Such word deletion is analyzed @@ -406,10 +406,10 @@ then going home. The difference between them is one of focus and viewpoint. In the first two sentences, going home has semantic focus, as that is the new information being conveyed, while in the latter two sentences it is shopping - that has focus. The first and third sentence have a prospective + that has focus. The first and third sentence have a âprospectiveâ viewpoint in that the sentence conveys the events in the same sequence in which they occurred, looking upon the events from the viewpoint of the one that occurred - first. However, the second and fourth sentences have a retrospective + first. However, the second and fourth sentences have a âretrospectiveâ viewpoint, conveying the two events in a reverse order from how they occurred, looking back on the events from the viewpoint of the event which occurred last.</P> <P align="justify">In Ithkuil, the distinction in focus and viewpoint in these @@ -428,9 +428,9 @@ carrying semantic focus need be spoken. Similarly, the <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13">topicalization suffix</A> in conjunction with the <FONT size="2"><A href="ithkuil-ch5a-verbs.htm#5o1o6">INTERROGATIVE</A></FONT> illocution affix, allows for abbreviated inquiries within a known contextual - discourse, similar to such abbreviated sentences in English, e.g., and - Bill? in lieu of the full sentence Comment on how this applies - to Bill.</P> + discourse, similar to such abbreviated sentences in English, e.g., âand + Bill?â in lieu of the full sentence âComment on how this applies + to Bill.â</P> <P> </P> <TABLE width="99%" height="23" border="0" cellpadding="0" bgcolor="#CCCCCC"> <TBODY><TR> @@ -455,7 +455,7 @@ 2) <EM>That path descends steeply into the canyon.</EM></P> </BLOCKQUOTE> <P align="justify">Both of these sentences are describing the same property of - the path its steepness. The distinction in the sentences comes from + the path â its steepness. The distinction in the sentences comes from the point of view being reflected by the speaker. In sentence (1) the implied point of view is from the bottom of the canyon upward, while in sentence (2) the viewpoint is from the top of the canyon downward. What is important is that, @@ -478,7 +478,7 @@ <P align="justify">Similarly, care must be made, when comparing Ithkuil sentence structure with other languages, to note that Ithkuil grammar allows for a more overt reflection of the underlying semantic roles inherent in a given sentence. - As a result, sentence structures in Western languages which mask + As a result, sentence structures in Western languages which âmaskâ potentially anomalous semantic structures are avoided in Ithkuil. For example, compare the following pairs of sentences.</P> <DIV align="justify"> @@ -498,22 +498,22 @@ <P align="justify">The syntactical patterns of these two pairs of sentences are identical, yet the word-order in sentence (4b) is ungrammatical (as indicated by the asterisk), while the same word-order in sentence (3b) presents no problem. - The underlying reason for the difference is one of semantic role. While analysts - can function in the role of Recipients, stains cannot (they are + The underlying reason for the difference is one of semantic role. While âanalystsâ + can function in the role of Recipients, âstainsâ cannot (they are merely directional Goals, i.e., where the solvent gets applied). Cognitively, - stains cannot possess a solvent the way analysts can possess + stains cannot âpossessâ a solvent the way analysts can âpossessâ a report. In Ithkuil, the semantic roles would be clearly defined by the case-markings of the participants. Therefore, syntactically inconsistent pairs such as (3b) and (4b) do not occur.</P> -<P align="justify">Sometimes, rather than semantic role, it is a participants +<P align="justify">Sometimes, rather than semantic role, it is a participantâs relationship to an underlying clause that presents the problem. For example, - <EM>Hes a tall president</EM> means Hes a president who - is tall. So why doesnt <EM>Hes a likely president</EM> - mean *Hes a president who is likely? The reason is that, - while tall describes its adjacent referent president, - likely does not describe its adjacent referent. Rather, likely + <EM>Heâs a tall president</EM> means âHeâs a president who + is tall.â So why doesnât <EM>Heâs a likely president</EM> + mean â*Heâs a president who is likelyâ? The reason is that, + while âtallâ describes its adjacent referent âpresident,â + âlikelyâ does not describe its adjacent referent. Rather, âlikelyâ describes an underlying process in which that referent is or will be engaged, - i.e., running for president. Therefore, while these two sentences + i.e., ârunning for president.â Therefore, while these two sentences are morpho-syntactically identical in English, their Ithkuil translations are quite different from one another morpho-syntactically: <BR> </P> @@ -530,11 +530,11 @@ <H3>9.3.3 Negation</H3> <P align="justify">Negation is another morpho-semantic area where translation from English or other Western languages can be tricky. Consider the English - sentence <EM>Shelly doesnt think they like her cooking</EM>. Note this + sentence <EM>Shelly doesnât think they like her cooking</EM>. Note this sentence does not mean what a literal word-for-word analysis implies, i.e., - That they like her cooking is not something that Shelly is thinking. - Rather, the correct meaning is Shelly thinks that they dont like - her cooking. Ithkuil is very precise in specifying exactly what components + âThat they like her cooking is not something that Shelly is thinking.â + Rather, the correct meaning is âShelly thinks that they donât like + her cooking.â Ithkuil is very precise in specifying exactly what components of a sentence are to be negated. Use of the four affirmation/negation affixes from <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o9">Sec. 7.7.9</A> (<IMG src="assets/9-3d.gif" width="154" height="25" align="absmiddle">) in conjunction with a formative carries very specific information as to what @@ -542,14 +542,14 @@ what degree. Using these four affixes alone, Ithkuil can distinguish between the following four sentences without any syntactic rearrangement of the words:</P> <BLOCKQUOTE> - <P align="justify"><EM>I dont want to begin singing.</EM></P> - <P align="justify"><EM>Im beginning to not want to sing.</EM></P> + <P align="justify"><EM>I donât want to begin singing.</EM></P> + <P align="justify"><EM>Iâm beginning to not want to sing.</EM></P> <P align="justify"><EM>I want to not begin singing.</EM></P> - <P align="justify"><EM>Im beginning to want to not sing.</EM></P> + <P align="justify"><EM>Iâm beginning to want to not sing.</EM></P> </BLOCKQUOTE> <P align="justify">Thus when translating negative sentences into Ithkuil, care - must be taken to not syntactically rearrange a sentence as with - <EM>Shelly doesnt think they like her cooking</EM>. Additionally, Ithkuil + must be taken to not syntactically ârearrangeâ a sentence as with + <EM>Shelly doesnât think they like her cooking</EM>. Additionally, Ithkuil makes a morpho-semantic distinction not found in Western languages: the difference between <STRONG>absolute negation</STRONG> and <STRONG>relative negation</STRONG>. Absolute negation implies that the non-existence or non-occurrence of an entity, @@ -558,16 +558,16 @@ is illustrated in the two sentences below:</P> <P><BR> <IMG src="assets/9-3e.gif" width="340" height="27"><BR> - <EM>The girl doesnt sing</EM> [because she cant, i.e., she is + <EM>The girl doesnât sing</EM> [because she canât, i.e., she is mute].</P> <P><BR> .<IMG src="assets/9-3f.gif" width="338" height="26"><BR> - <EM>The girl doesnt sing </EM>[even though she can, i.e., she chooses + <EM>The girl doesnât sing </EM>[even though she can, i.e., she chooses not to].</P> <P> </P> <TABLE width="98%" border="0" cellpadding="0"> <TBODY><TR> - <TD bgcolor="#CCCCCC"> <P><FONT size="4"><STRONG>9.4 THE CARRIER + <TD bgcolor="#CCCCCC"> <P><FONT size="4"><STRONG>9.4 THE âCARRIERâ ROOT</STRONG></FONT><A name="Sec9o4"></A></P></TD> </TR> </TBODY></TABLE> @@ -576,14 +576,14 @@ nouns such as personal and place names, as well as non-Ithkuil words from other languages are by nature morpho-phonologically incompatible with such as system. Nevertheless, such words can be declined or conjugated like any other Ithkuil - formative by means of the carrier root <FONT face="Arial, Helvetica, sans-serif"><STRONG>k-r</STRONG></FONT>. + formative by means of the âcarrierâ root <FONT face="Arial, Helvetica, sans-serif"><STRONG>k-r</STRONG></FONT>. In addition to this use, the carrier root is employed in certain other contexts as well, as described below.</P> <H3 align="justify"><BR> 9.4.1 Words that Cannot Take Affixes or Be Mutated</H3> <P align="justify">The six primary stems of the carrier root (<STRONG><FONT face="Arial, Helvetica, sans-serif">kar, - kur, kir</FONT></STRONG> and their Form II counterparts <FONT face="Arial, Helvetica, sans-serif"><STRONG>kâr, - kűr, kîr</STRONG></FONT>) are respectively associated with animate + kur, kir</FONT></STRONG> and their Form II counterparts <FONT face="Arial, Helvetica, sans-serif"><STRONG>kâr, + kĹąr, kĂŽr</STRONG></FONT>) are respectively associated with animate beings (the two complementary derivatives being humans versus non-humans or figuratively/metaphorically animate entities); inanimate entities (the two complementary derivatives being objectively concrete entities versus subjective entities such @@ -600,11 +600,11 @@ <H3 align="justify">9.4.2 Emphasizing or Highlighting a Particular Category</H3> <P align="justify">Another use of the carrier root is to emphasize or topicalize a particular affix or grammatical element associated with a word. For example, - in English we can say a <EM>big</EM> house with extra intonation - on the word big to emphasize that word. To accomplish such emphasis + in English we can say âa <EM>big</EM> houseâ with extra intonation + on the word âbigâ to emphasize that word. To accomplish such emphasis in Ithkuil, the carrier root is used with the augmentative suffix in conjunction - with the noun house as opposed to simply using the augmentative - suffix on the stem for house. No change in vocal pitch or intonation + with the noun âhouseâ as opposed to simply using the augmentative + suffix on the stem for âhouse.â No change in vocal pitch or intonation is required, as the grammatically unnecessary use of the carrier root serves to accomplish the required emphasis. Any morphological category manifested by a carrier root rather than an adjunct or mutation serves to emphasize that category. @@ -676,7 +676,7 @@ </TR> </TBODY></TABLE> <BR> -<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT> diff --git a/2004-en-alt/ithkuil-lexicon.html b/2004-en-alt/ithkuil-lexicon.html index 5f509b6..ea71de5 100755..100644 --- a/2004-en-alt/ithkuil-lexicon.html +++ b/2004-en-alt/ithkuil-lexicon.html @@ -84,8 +84,8 @@ to this list as the author finds time to convert his handwritten notes. The most or Derivation (see <A href="ithkuil-ch5a-verbs.htm#Sec5o4">Sec. 5.4</A>). </P> <P>Ideally, the best way to represent the meanings of Ithkuil stems would be to - use a semantic meta-language comprised of a closed set of semantically - universal (or near-universal) primitives to create semantic formulas + use a semantic âmeta-languageâ comprised of a closed set of semantically + universal (or near-universal) âprimitivesâ to create semantic âformulasâ which define the use of a particular stem. (The design and use of such a meta-language to translate the meanings of words from one language to another can be found in the writings of linguist Anna Wierzbicka.) However, the author has chosen @@ -102,7 +102,7 @@ to this list as the author finds time to convert his handwritten notes. The most <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">H- WHOLE NUMBER/INTEGER</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">H-Ĺ âWHOLE NUMBER/INTEGERâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -137,7 +137,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">L-S ONE/UNITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">L-S âONE/UNITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -178,7 +178,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">K-S TWO/DUALITY</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">K-S âTWO/DUALITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -213,7 +213,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">N-S SEVEN</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">N-S âSEVENâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -245,18 +245,18 @@ to this list as the author finds time to convert his handwritten notes. The most <TD width="185" valign="top"><P>3. to the negative 7th power; to divide by the 7th power of</P></TD> </TR> </TBODY></TABLE> - <P>THE ABOVE PATTERN FOR TWO AND SEVEN APPLIES TO THE REMAINING NUMBER ROOTS AS FOLLOWS:<BR> - -S 3<BR> - P-S 4<BR> - Ţ-S 5<BR> - T-S 6<BR> - X-S 8<BR> - F-S 9<BR> - M-S 10<BR> - R-S 100<BR> - Q-S 10,000<BR> - Ç-S 100,000,000<BR> - Ċ-S 10 QUADRILLION<BR> + <P>THE ABOVE PATTERN FOR âTWOâ AND âSEVENâ APPLIES TO THE REMAINING NUMBER ROOTS AS FOLLOWS:<BR> + Ĺ -S â3â<BR> + P-S â4â<BR> + Ţ-S â5â<BR> + T-S â6â<BR> + X-S â8â<BR> + F-S â9â<BR> + M-S â10â<BR> + R-S â100â<BR> + Q-S â10,000â<BR> + Ă-S â100,000,000â<BR> + Ċ-S â10 QUADRILLIONâ<BR> </P> </BLOCKQUOTE> <P><BR> @@ -264,7 +264,7 @@ to this list as the author finds time to convert his handwritten notes. The most <BLOCKQUOTE> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">H-P FACT/KNOW/LEARN/UNDERSTAND/EXPERTISE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">H-P âFACT/KNOW/LEARN/UNDERSTAND/EXPERTISEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -298,7 +298,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">H-T - (CRIMINAL) LAW/ADJUDICATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">H-T - â(CRIMINAL) LAW/ADJUDICATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -334,7 +334,7 @@ to this list as the author finds time to convert his handwritten notes. The most </TR> <TR> <TD width="185" valign="top"><P>3. gather material evidence as part of criminal investigation, e.g., questioning of witnesses, viewing of records, inspecting clues and material evidence</P></TD> - <TD width="185" valign="top"><P>3. act by law enforcement for purposes of criminal identification or apprehension, e.g., interrogation or component of sting-type operation, or legal trap set up </P></TD> + <TD width="185" valign="top"><P>3. act by law enforcement for purposes of criminal identification or apprehension, e.g., interrogation or component of sting-type operation, or legal âtrapâ set up </P></TD> <TD width="185" valign="top"><P>3. presentation of evidence in support of alleged crime; prosecution</P></TD> <TD width="185" valign="top"><P>3. formal weighing of evidence by judge or jury</P></TD> </TR> @@ -345,7 +345,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">K-P GOOD/BENEFICIAL</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">K-P âGOOD/BENEFICIALâ</FONT></P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -372,7 +372,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-T QUESTION/INQUIRY/ANSWER/RESPONSE</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-T âQUESTION/INQUIRY/ANSWER/RESPONSEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -417,7 +417,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-T DEITY / SPIRITUAL ENTITY / SUPERNATURAL ENTITY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-T âDEITY / SPIRITUAL ENTITY / SUPERNATURAL ENTITYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -428,7 +428,7 @@ to this list as the author finds time to convert his handwritten notes. The most <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. angel</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. deity / god / overseer spirit</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. deity / god / âoverseerâ spirit</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. God / Supreme Being / Creator deity</FONT></P></TD> </TR> <TR> @@ -449,7 +449,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-Q REMEMBER/RECALL/MEMORY/RECORD</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-Q âREMEMBER/RECALL/MEMORY/RECORDâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -473,7 +473,7 @@ to this list as the author finds time to convert his handwritten notes. The most </TR> <TR> <TD width="185" valign="top"><P>1. a memory itself (i.e., the content thereof)</P></TD> - <TD width="185" valign="top"><P>1. faculty of memory/recall (i.e., the process of using ones memory)</P></TD> + <TD width="185" valign="top"><P>1. faculty of memory/recall (i.e., the process of using oneâs memory)</P></TD> <TD width="185" rowspan="3" valign="top"><P>same as above 3 stems with focus on that which the physical manifestation memorializes or gives evidence/remembrance of</P></TD> <TD width="185" rowspan="3" valign="top"><P>same as above 3 stems with focus on the object/event/physical manifestation itself which conveys the memory or record</P></TD> </TR> @@ -486,11 +486,11 @@ to this list as the author finds time to convert his handwritten notes. The most <TD width="185" valign="top"><P>3. process of committing something to memory</P></TD> </TR> </TBODY></TABLE> - <P>MORPHOLOGICAL DERIVATIONS: recollect(ion), remind, memorize, memento, monument, archive, commemorate, commemoration, souvenir/keepsake, relic, to bear in mind, ponder/relish a memory, sear into ones memory</P> + <P>MORPHOLOGICAL DERIVATIONS: recollect(ion), remind, memorize, memento, monument, archive, commemorate, commemoration, souvenir/keepsake, relic, to bear in mind, ponder/relish a memory, sear into oneâs memory</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-K FANTASTIC OR IMAGINARY CREATURE</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">PĹ -K âFANTASTIC OR IMAGINARY CREATUREâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -527,7 +527,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">R-K THOUGHT/IDEA/REASON</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">R-K âTHOUGHT/IDEA/REASONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -571,7 +571,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: ponder, deliberate/deliberation, plan, contemplate, theory, hypothesis, deduce/deduction, postulate, infer(ence), judge, conclude/conclusion</P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">S-T MIND</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">S-T âMINDâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -595,7 +595,7 @@ to this list as the author finds time to convert his handwritten notes. The most </TR> <TR> <TD width="185" valign="top"><P>1. mental faculty / mind</P></TD> - <TD width="185" valign="top"><P>1. application of mental faculty; act of mentation / use ones mind</P></TD> + <TD width="185" valign="top"><P>1. application of mental faculty; act of mentation / use oneâs mind</P></TD> <TD width="185" valign="top"><P>1. feeling of sentience</P></TD> <TD width="185" valign="top"><P>1. act of self-reflection</P></TD> </TR> @@ -608,15 +608,15 @@ to this list as the author finds time to convert his handwritten notes. The most <TR> <TD width="185" valign="top"><P>3. instinct</P></TD> <TD width="185" valign="top"><P>3. instinctual act; to act instinctively</P></TD> - <TD width="185" valign="top"><P>3. intellect; use ones intellect</P></TD> - <TD width="185" valign="top"><P>3. product of ones intellect / intellectual feat</P></TD> + <TD width="185" valign="top"><P>3. intellect; use oneâs intellect</P></TD> + <TD width="185" valign="top"><P>3. product of oneâs intellect / intellectual feat</P></TD> </TR> </TBODY></TABLE> <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: philosophy, metaphysics</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ST-K COMPARISON/MEASUREMENT/WEIGH</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ST-K âCOMPARISON/MEASUREMENT/WEIGHâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -631,7 +631,7 @@ to this list as the author finds time to convert his handwritten notes. The most <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. discern</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. weigh/ponder choice/pro-con analysis</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. âweighâ/ponder choice/pro-con analysis</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. relate/collate/determine relationships between</FONT></P></TD> </TR> <TR> @@ -652,7 +652,7 @@ to this list as the author finds time to convert his handwritten notes. The most <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-C WEATHER CONDITION</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-C âWEATHER CONDITIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -689,7 +689,7 @@ to this list as the author finds time to convert his handwritten notes. The most <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">K-C - BAKE/SOMETHING BAKED</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">K-C - âBAKE/SOMETHING BAKEDâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -725,7 +725,7 @@ to this list as the author finds time to convert his handwritten notes. The most The following roots follow the same model as the above:<BR> T-C roast<BR> P-Ċ toast<BR> --Č fry<BR> +Ĺ -Č fry<BR> F-C griddle<BR> T-Ċ smoke<BR> Ķ-Č sun-dry<BR> @@ -749,7 +749,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">L- Č BINARY REVERSAL / POLARITY</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">L- Č âBINARY REVERSAL / POLARITYâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -795,7 +795,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. utensil, specialized implement for assisting in refined task</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. tool, instrument as means of defying nature (e.g., wheel, wedge, fulcrum, etc.</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. tool, instrument as means of âdefying natureâ (e.g., wheel, wedge, fulcrum, etc.</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. mechanical/motorized/electric/electronic implement/device</FONT></P></TD> </TR> <TR> @@ -823,7 +823,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">M-Č SWITCH/ALTERATION BETWEEN MULTI-VALUED SETTINGS</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">M-Č âSWITCH/ALTERATION BETWEEN MULTI-VALUED SETTINGSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -858,7 +858,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-C GROWTH/CULTIVATION/HUSBANDRY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-C âGROWTH/CULTIVATION/HUSBANDRYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -894,7 +894,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Č LARGE IMPLEMENT FOR COUNTERING GRAVITY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Č âLARGE IMPLEMENT FOR COUNTERING GRAVITYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -927,7 +927,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P><STRONG> </STRONG></P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">Q-Č PHYSICAL CONTACT</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">Q-Č âPHYSICAL CONTACTâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -935,7 +935,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. physical contact between 2 or more objects [contact + effect]</P></TD> - <TD width="372" rowspan="5" valign="top"><P>FORMAL Stems for this root have the same meanings as the INFORMAL stems except that the context is specific to physical contact by ones default appendage(s) for volitional physical contact, i.e., hands/fingers, beak, snout, tongue, pseudopod, tendril, tentacle, etc.</P></TD> + <TD width="372" rowspan="5" valign="top"><P>FORMAL Stems for this root have the same meanings as the INFORMAL stems except that the context is specific to physical contact by oneâs âdefaultâ appendage(s) for volitional physical contact, i.e., hands/fingers, beak, snout, tongue, pseudopod, tendril, tentacle, etc.</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. application of physical pressure/force + effect</P></TD> @@ -1010,7 +1010,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">C-M SENSE OF TASTE / THE TASTE OF SOMETHING</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">C-M âSENSE OF TASTE / THE TASTE OF SOMETHINGâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1045,7 +1045,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P><FONT color="#000000">2. flavor detected via instrument</FONT></P></TD> </TR> <TR> - <TD width="185" valign="top"><P><FONT color="#000000">3. imagine a taste in ones mind</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">3. imagine a taste in oneâs mind</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">3. an imagined taste</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">3. create/manufacture a flavor</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">3. flavor created</FONT></P></TD> @@ -1056,7 +1056,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P><STRONG> </STRONG></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">C-Ņ SPECIALIZED VOLITIONAL BODILY SOUNDS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">C-Ņ âSPECIALIZED VOLITIONAL BODILY SOUNDSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1085,12 +1085,12 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems referring to the sound itself</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">SSD Derivations from Informal Stem 1: 1) whistle 2) hum 3) raspberry 4) hoot/whoop 5) non-avian animal call 6) bird call 7) scream 8) click-sound (i.e., w/ ingressive airstream) 9) non-phonemic consonantal gibberish sound</FONT></P> - <P><FONT color="#000000">SSD Derivations from Informal Stem 3: 1) slap 2) rubbing sound 3) footfall (--> stomp) 4) snap of fingers 5) finger tap 6) toe/foot tap 7) suction-based sound (e.g., armpit fart) 8) knuckle crack 9) other joint cracking</FONT></P> + <P><FONT color="#000000">SSD Derivations from Informal Stem 1: 1) whistle 2) hum 3) âraspberryâ 4) hoot/whoop 5) non-avian animal call 6) bird call 7) scream 8) click-sound (i.e., w/ ingressive airstream) 9) non-phonemic consonantal gibberish sound</FONT></P> + <P><FONT color="#000000">SSD Derivations from Informal Stem 3: 1) slap 2) rubbing sound 3) footfall (--> stomp) 4) snap of fingers 5) finger tap 6) toe/foot tap 7) suction-based sound (e.g., âarmpit fartâ) 8) knuckle crack 9) other joint cracking</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ċ-N IN-LAW/FOSTER RELATIONS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ċ-N âIN-LAW/FOSTER RELATIONSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1134,7 +1134,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">Ç-M LOWER ORDER LIFE FORM</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">Ă-M âLOWER ORDER LIFE FORMâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1169,7 +1169,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Ç-Ņ HEAR(ING)/SOUND</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Ă-Ņ âHEAR(ING)/SOUNDâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1180,7 +1180,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="370" colspan="2" valign="top"><P>1. listen to a (specific) sound / discern aurally a (specific) sound</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. ear (aural organ + physical part of body, i.e., Spanish oído + oreja)</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. ear (aural organ + physical part of body, i.e., Spanish oĂdo + oreja)</P></TD> <TD width="370" colspan="2" valign="top"><P>2. aural instrument / device for detecting sound waves + sound detected</P></TD> </TR> <TR> @@ -1204,7 +1204,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P>2. sound detected via aural instrument</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>3. imagine a sound / hear in ones mind</P></TD> + <TD width="185" valign="top"><P>3. imagine a sound / hear in oneâs mind</P></TD> <TD width="185" valign="top"><P>3. imagined sound</P></TD> <TD width="185" valign="top"><P>3. create or manufacture a sound</P></TD> <TD width="185" valign="top"><P>3. sound created</P></TD> @@ -1214,7 +1214,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">F-N COUSIN</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">F-N âCOUSINâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1237,28 +1237,28 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>1. cousin [male or female related through ones mother]</P></TD> - <TD width="185" valign="top"><P>1. cousin [male or female related through ones father]</P></TD> - <TD width="185" valign="top"><P>1. cousin [male or female related through ones stepmother]</P></TD> - <TD width="185" valign="top"><P>1. cousin [male or female related through ones stepfather]</P></TD> + <TD width="185" valign="top"><P>1. cousin [male or female â related through oneâs mother]</P></TD> + <TD width="185" valign="top"><P>1. cousin [male or female â related through oneâs father]</P></TD> + <TD width="185" valign="top"><P>1. cousin [male or female â related through oneâs stepmother]</P></TD> + <TD width="185" valign="top"><P>1. cousin [male or female â related through oneâs stepfather]</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>2. male cousin [related through ones mother]</P></TD> - <TD width="185" valign="top"><P>2. male cousin [related through ones father]</P></TD> - <TD width="185" valign="top"><P>2. male cousin [related through ones stepmother]</P></TD> - <TD width="185" valign="top"><P>2. male cousin [related through ones stepfather]</P></TD> + <TD width="185" valign="top"><P>2. male cousin [related through oneâs mother]</P></TD> + <TD width="185" valign="top"><P>2. male cousin [related through oneâs father]</P></TD> + <TD width="185" valign="top"><P>2. male cousin [related through oneâs stepmother]</P></TD> + <TD width="185" valign="top"><P>2. male cousin [related through oneâs stepfather]</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>3. female cousin [related through ones mother]</P></TD> - <TD width="185" valign="top"><P>3. female cousin [related through ones father]</P></TD> - <TD width="185" valign="top"><P>3. female cousin [related through ones stepmother]</P></TD> - <TD width="185" valign="top"><P>3. female cousin [related through ones stepfather]</P></TD> + <TD width="185" valign="top"><P>3. female cousin [related through oneâs mother]</P></TD> + <TD width="185" valign="top"><P>3. female cousin [related through oneâs father]</P></TD> + <TD width="185" valign="top"><P>3. female cousin [related through oneâs stepmother]</P></TD> + <TD width="185" valign="top"><P>3. female cousin [related through oneâs stepfather]</P></TD> </TR> </TBODY></TABLE> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">FL-Ņ TYPES OF HARD OR NON-LIVING BODILY TISSUES</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">FL-Ņ âTYPES OF HARD OR NON-LIVING BODILY TISSUESâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1293,7 +1293,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">H-N NUCLEAR FAMILY MEMBER</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">H-N âNUCLEAR FAMILY MEMBERâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1337,7 +1337,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">KS-Ņ COMPONENT OF BODYS RESPIRATORY/CARDIO-VASCULATORY SYSTEM</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">KS-Ņ âCOMPONENT OF BODYâS RESPIRATORY/CARDIO-VASCULATORY SYSTEM</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1373,7 +1373,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ķ-Ņ ABDOMEN/THORAX/TORSO/CHEST</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ķ-Ņ âABDOMEN/THORAX/TORSO/CHESTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1381,7 +1381,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. thorax/torso [both body part and function]</FONT></P></TD> - <TD width="370" rowspan="5" valign="top"><P><FONT color="#000000">FORMAL stems are the same as INFORMAL stems but applied to mid-section of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</FONT></P></TD> + <TD width="370" rowspan="5" valign="top"><P><FONT color="#000000">FORMAL stems are the same as INFORMAL stems but applied to âmid-sectionâ of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. abdomen/midsection (lower front half of torso) [both body part and function]</FONT></P></TD> @@ -1401,18 +1401,18 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">M-Ņ CLASSES OF ANIMAL</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">M-Ņ âCLASSES OF ANIMALâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> <TD width="370" colspan="2" valign="top"><P align="center">FORMAL Stems</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>1. animal of land or air (i.e., terroid)</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. animal of land or air (i.e., âterroidâ)</P></TD> <TD width="370" colspan="2" rowspan="3" valign="top"><P>Same as INFORMAL holistic stems but domesticated, tamed, captive, or bred</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. waterlife (i.e., aquoid)</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. waterlife (i.e., âaquoidâ)</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. amphibian</P></TD> @@ -1431,7 +1431,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-N GENDER</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-N âGENDERâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1476,7 +1476,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">KL-Ņ BODILY JOINT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">KL-Ņ âBODILY JOINTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1512,7 +1512,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">KŞ-Ņ NECK</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">KŞ-Ņ âNECKâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1520,7 +1520,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. neck (as gestalt entity) [body part + function]</P></TD> - <TD width="370" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to neck of a non-animal entity, e.g., a mechanical device, complex 3-dimensional form, plant, etc.</P></TD> + <TD width="370" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to âneckâ of a non-animal entity, e.g., a mechanical device, complex 3-dimensional form, plant, etc.</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. neck (as bodily support/swivel point for head) [body part + function</P></TD> @@ -1548,7 +1548,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">L-M SIBLING</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">L-M âSIBLINGâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1592,7 +1592,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">L-N CLASSES OF WATERLIFE</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">L-N âCLASSES OF WATERLIFEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1619,7 +1619,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="185" valign="top"><P><FONT color="#000000">2. crustacean</FONT></P></TD> - <TD width="185" valign="top"><P><FONT color="#000000">2. non-standard-shaped fish (e.g., ray, eel, squid, octopus, etc.)</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">2. ânon-standardâ-shaped fish (e.g., ray, eel, squid, octopus, etc.)</FONT></P></TD> </TR> <TR> <TD width="185" valign="top"><P><FONT color="#000000">3. shellfish</FONT></P></TD> @@ -1630,7 +1630,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ļ-Ņ CLASSES OF LAND/AIR ANIMAL</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ļ-Ņ âCLASSES OF LAND/AIR ANIMALâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1665,7 +1665,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">M-L TRAGICOMIC-BASED VOCAL/FACIAL GESTURE</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">M-L âTRAGICOMIC-BASED VOCAL/FACIAL GESTUREâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1693,7 +1693,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P><FONT color="#000000">2. whine, moan</FONT></P></TD> </TR> <TR> - <TD width="185" valign="top"><P><FONT color="#000000">3. light up (referring to ones face)</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">3. âlight upâ (referring to oneâs faceâ)</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">3. crestfallen look, look of dejection</FONT></P></TD> </TR> </TBODY></TABLE> @@ -1701,7 +1701,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P><A name="foodplant" id="foodplant"></A></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N-N FOOD PLANT</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N-N âFOOD PLANTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1735,7 +1735,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-M SMELL/ODOR</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-M âSMELL/ODORâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1776,11 +1776,11 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P>3. manufactured odor</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: sniff, aroma, bouquet, perfume, stench</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: sniff, aroma, âbouquetâ, perfume, stench</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ņ STATE OF HEALTH/ILLNESS/WELL-BEING</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ņ âSTATE OF HEALTH/ILLNESS/WELL-BEINGâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1809,12 +1809,12 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems w/ focus on cause</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">SSD affix used with Stem 2 of both INFORMAL and FORMAL stem in conjunction w/ the AGC2/7 affix give: 1) nurse 2) emergency technician 3) therapist 4) caregiver 5) doctor 6) surgeon 7) healer 8) medicine man 9) medical assistant<BR> + <P><FONT color="#000000">SSD affix used with Stem 2 of both INFORMAL and FORMAL stem in conjunction w/ the AGC2/7 affix give: 1) nurse 2) emergency technician 3) therapist 4) caregiver 5) doctor 6) surgeon 7) healer 8) âmedicine manâ 9) medical assistant<BR> Derivations: madness, craziness, insanity</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">PL-Ņ THROAT (interior tract of neck)/GULLET</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">PL-Ņ âTHROAT (interior tract of neck)/GULLETâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1822,7 +1822,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. throat (= interior respiratory/digestive tract of neck)</FONT></P></TD> - <TD width="370" rowspan="5" valign="top"><P><FONT color="#000000">FORMAL stems are the same as INFORMAL stems but applied to throat/gullet of a non-animal entity, e.g., a mechanical device, complex 3-dimensional form, plant, etc.</FONT></P></TD> + <TD width="370" rowspan="5" valign="top"><P><FONT color="#000000">FORMAL stems are the same as INFORMAL stems but applied to âthroat/gulletâ of a non-animal entity, e.g., a mechanical device, complex 3-dimensional form, plant, etc.</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. gullet (= tube- or trumpet-shaped digestive conduit from oral cavity)</FONT></P></TD> @@ -1838,11 +1838,11 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems referring to function</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">SSD derivatives: pharynx, larynx, syrinx, epiglottis, glottis, trachea/windpipe, vocal fold/chord, hyoid bone / Adams apple</FONT></P> + <P><FONT color="#000000">SSD derivatives: pharynx, larynx, syrinx, epiglottis, glottis, trachea/windpipe, vocal fold/chord, hyoid bone / âAdamâs appleâ</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">PS-Ņ GASTRO-INTESTINAL/UROLOGICAL COMPONENT</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">PS-Ņ âGASTRO-INTESTINAL/UROLOGICAL COMPONENTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1877,7 +1877,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">PŞ-Ņ PREGNANCY/GESTATION</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">PŞ-Ņ âPREGNANCY/GESTATIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -1908,7 +1908,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Q-M HIGHER ORDER ANIMAL LIFE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Q-M âHIGHER ORDER ANIMAL LIFEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1953,7 +1953,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">R-N DČ- HAND</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">R-N DÄ- âHANDâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -1961,7 +1961,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. hand (as gestalt entity) [both physical body part and function]</P></TD> - <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to hand of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> + <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to âhandâ of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. hand (as holder, grasper, striker) [both physical body part and function]; to grasp-->hold</P></TD> @@ -1974,7 +1974,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="173" valign="top"><P>1. hand as physical body part</P></TD> - <TD width="194" valign="top"><P>1. function of hand as feeler- focuser of bodys tactile sense</P></TD> + <TD width="194" valign="top"><P>1. function of hand as âfeelerâ- focuser of bodyâs tactile sense</P></TD> </TR> <TR> <TD width="173" valign="top"><P>2. hand as main tool of body</P></TD> @@ -1985,11 +1985,11 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="194" valign="top"><P>3. function of hand as manipulator/handler</P></TD> </TR> </TBODY></TABLE> - <P>SSD derivatives: 1) fist 2) palm 3) knuckle 4) hand as flat blade, e.g., for karate chop 5) finger 6) thumb 7) butt of hand [=lower part of palm] 8) fingernail 9) bottom side of fist [as when pounding fist onto table; for individual fingers, use following affixes + SSD/5 for finger: index = main finger or first finger, middle finger = mid-finger or long finger or 2nd finger, ring finger = 3rd finger, pinkie = 4th finger or small(est) finger</P> + <P>SSD derivatives: 1) fist 2) palm 3) knuckle 4) hand as flat âbladeâ, e.g., for karate chop 5) finger 6) thumb 7) âbuttâ of hand [=lower part of palm] 8) fingernail 9) bottom side of fist [as when pounding fist onto table; for individual fingers, use following affixes + SSD/5 for âfingerâ: index = âmain fingerâ or âfirst fingerâ, middle finger = âmid-fingerâ or âlong fingerâ or â2nd fingerâ, ring finger = â3rd fingerâ, pinkie = 4th finger or small(est) finger</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">R-Ņ COLLATERAL FAMILY MEMBER/RELATIVE</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">R-Ņ âCOLLATERAL FAMILY MEMBER/RELATIVEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2033,7 +2033,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">R-M NUTRITION / NUTRITIONAL CONSUMPTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">R-M âNUTRITION / NUTRITIONAL CONSUMPTIONâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2074,7 +2074,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ŗ-N CLASSES OF MAMMAL</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">Ŗ-N âCLASSES OF MAMMALâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2101,7 +2101,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><DIV align="center">Ŗ-Ņ - INFIRMITY/PHYSICAL DISABILITY </DIV></TD> + <TD width="739" colspan="4" valign="top"><DIV align="center">Ŗ-Ņ - âINFIRMITY/PHYSICAL DISABILITYâ </DIV></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2133,7 +2133,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">S-M LEG</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">S-M âLEGâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2141,7 +2141,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. leg (as gestalt entity) [both physical body part and function]</P></TD> - <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to arm of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> + <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to âarmâ of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. leg (as support) [both physical body part and function]</P></TD> @@ -2166,12 +2166,12 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> </TBODY></TABLE> <P>SIMILAR PATTERNS EXIST FOR: <BR> - Ņ-N TAIL<BR> - K-Ņ FOOT --> <FONT color="#000000">SSD Derivatives: heel, ball of foot, upper side of foot, arch, plantar fascia, achilles tendon</FONT></P> + Ņ-N âTAILâ<BR> + K-Ņ âFOOTâ --> <FONT color="#000000">SSD Derivatives: heel, ball of foot, upper side of foot, arch, plantar fascia, achilles tendon</FONT></P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">S-N PLANT TYPES</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">S-N âPLANT TYPESâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2208,7 +2208,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">S-Ņ RESPIRATORY PAROXYSM</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">S-Ņ âRESPIRATORY PAROXYSMâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2244,7 +2244,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">SX-M MOUTH/ORAL</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">SX-M âMOUTH/ORALâ</FONT></P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2271,7 +2271,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ş-Ņ BODY PART</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ş-Ņ âBODY PARTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2301,14 +2301,14 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> </TBODY></TABLE> <P><FONT color="#000000">MORPHOLOGICAL DERIVATIVES: body, corpse<BR> - SSD Affix with Informal Stem 3: 1) spine 2) rib 3) skull 4) limb bone (tibia, femur, ulna, etc.) 5) bone of hand/foot 6) shield bone (e.g., patella, shoulder blade) 7) hipbone <BR> + SSD Affix with Informal Stem 3: 1) spine 2) rib 3) skull 4) limb bone (tibia, femur, ulna, etc.) 5) bone of hand/foot 6) âshieldâ bone (e.g., patella, shoulder blade) 7) hipbone <BR> SSD Affix with Formal Stem 1: 1) membrane 2) tendon 3) ligament 4) nerve 5) muscle 6) skin/integument 7) sphincter/valve 8) marrow 9) fat/gristle<BR> SSD Affix with Formal Stem 2: 1) gonad 2) esophagus 3) adrenal gland 4) bowel/intestine 5) brain 6) lung 7) kidne</FONT>y 8) pancreas 9) liver<FONT color="#000000"><BR> SSD Affix with Formal Stem 3: 1) tear 2) bile 3) semen 4) pus 5) blood 6) mucus/mucal secretion 7) saliva 8) lymph 9) sweat/perspiration</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">-N NON-SANGUINE RELATION</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ĺ -N âNON-SANGUINE RELATIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2352,7 +2352,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">-Ņ SOIL/GROUND/DIRT (MIXED ORGANIC + MINERAL)</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Ĺ -Ņ âSOIL/GROUND/DIRT (MIXED ORGANIC + MINERAL)â</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2384,7 +2384,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-M BREATHE/RESPIRATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-M âBREATHE/RESPIRATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2417,7 +2417,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-N ALIVE/LIVING THING/LIVING BEING</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-N âALIVE/LIVING THING/LIVING BEINGâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2462,7 +2462,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">T-Ņ PLEASURE- or PAIN-BASED VOCALIZATION</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">T-Ņ âPLEASURE- or PAIN-BASED VOCALIZATIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2491,7 +2491,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-Ņ COMPONENT OF NERVOUS SYSTEM</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-Ņ âCOMPONENT OF NERVOUS SYSTEMâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2525,7 +2525,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">Ţ-N HEAD</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">Ţ-N âHEADâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2533,13 +2533,13 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. head (as gestalt entity) [both physical body part and function]</P></TD> - <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to arm of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> + <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to âarmâ of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. head (as seat of brain/mind) [both body part and function]</P></TD> </TR> <TR> - <TD width="367" colspan="2" valign="top"><P>3. head (as entitys primary interface area of body)</P></TD> + <TD width="367" colspan="2" valign="top"><P>3. head (as entityâs primary âinterfaceâ area of body)</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -2553,7 +2553,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="194" valign="top"><P>2. head as functional seat of brain/mind</P></TD> </TR> <TR> - <TD width="173" valign="top"><P>3. head as top or forward part or access point</P></TD> + <TD width="173" valign="top"><P>3. head as âtopâ or âforwardâ part or âaccessâ point</P></TD> <TD width="194" valign="top"><P>3. head as vital seat of identity</P></TD> </TR> </TBODY></TABLE> @@ -2561,7 +2561,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ŢL-Ņ MISCELLANEOUS BODY PARTS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ŢL-Ņ âMISCELLANEOUS BODY PARTSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2593,7 +2593,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">X-M ARM</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">X-M âARMâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2601,7 +2601,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. arm (as gestalt entity) [both physical body part and function]</P></TD> - <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to arm of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> + <TD width="372" rowspan="7" valign="top"><P>FORMAL stems are the same as INFORMAL stems but applied to âarmâ of a non-animal entity, e.g., a mechanical device, vehicle, plant, etc.</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. arm (as holder, support, carrier) [both body part and function]</P></TD> @@ -2628,7 +2628,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-N VISION/SIGHT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-N âVISION/SIGHTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2643,7 +2643,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <TD width="370" colspan="2" valign="top"><P>2. optical instrument + image</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. visualize / imagine / picture a visual image in ones mind + image</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. visualize / imagine / picture a visual image in oneâs mind + image</P></TD> <TD width="370" colspan="2" valign="top"><P>3. create image / render an image</P></TD> </TR> <TR> @@ -2664,7 +2664,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="185" valign="top"><P>3. visualize / envision; act of visualization</P></TD> - <TD width="185" valign="top"><P>3. an image / a vision (in ones mind)</P></TD> + <TD width="185" valign="top"><P>3. an image / a vision (in oneâs mind)</P></TD> <TD width="185" valign="top"><P>3. create image</P></TD> <TD width="185" valign="top"><P>3. image created</P></TD> </TR> @@ -2673,7 +2673,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">X-Ņ BACK/DORSAL AREA OF BODY</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">X-Ņ âBACK/DORSAL AREA OF BODYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2701,14 +2701,14 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">XL-M SENSE/SENSATION</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">XL-M âSENSE/SENSATIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. sense/sensation, feel / feeling [faculty/act of sensing + sensation itself]</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. sense/sensation, âfeelâ / âfeelingâ [faculty/act of sensing + sensation itself]</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. examine via the senses [both act and result/outcome]</FONT></P></TD> </TR> <TR> @@ -2745,7 +2745,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">XL-Ņ DEGREE OF BODILY SLENDERNESS/FATNESS</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">XL-Ņ âDEGREE OF BODILY SLENDERNESS/FATNESSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2774,7 +2774,7 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-M - DISEASE/DISORDER/MALADY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-M - âDISEASE/DISORDER/MALADYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2782,15 +2782,15 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. chronic systemic illness/condition/ailment; to suffer from</P></TD> - <TD width="370" colspan="2" valign="top"><P>1. acute abnormal/unhealthy condition/illness/malady/ailment; come down with</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. acute abnormal/unhealthy condition/illness/malady/ailment; âcome down withâ</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. chronic illness/condition/ailment infectious in origin; to suffer from a chronic infectious illness</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. infection; infect(ed), to catch a disease</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. chronic illness/condition/ailment â infectious in origin; to suffer from a chronic infectious illness</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. infection; infect(ed), to âcatchâ a disease</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. chronic illness/condition/ailment ideopathic, genetic/neoplastic, or unknown origin</P></TD> - <TD width="370" colspan="2" valign="top"><P>3. acute illness/condition/ailment ideopathic, genetic/neoplastic, or unknown origin</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. chronic illness/condition/ailment â ideopathic, genetic/neoplastic, or unknown origin</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. acute illness/condition/ailment â ideopathic, genetic/neoplastic, or unknown origin</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -2808,34 +2808,34 @@ FL-Ċ non-heat related method of food preparation, e.g., preparing su PL-M neuro-muscular/myalgic disorder <BR> PŞ-M cardio-vascular disorder <BR> KL-M peripheral nervous system disorder<BR> - K-M pulmonary disorder<BR> + KĹ -M pulmonary disorder<BR> KŞ-M non-malignant tumorous/neoplastic disorder; non-cancerous growth <BR> -L-N malignant tumorous /neoplastic disorder; cancer SSD derivatives:<BR> +Ĺ L-N malignant tumorous /neoplastic disorder; cancer SSD derivatives:<BR> TL-M genetic disorder <BR> ŢL-M musculo-skeletal disorder <BR> -L-M lower gastro-intestinal disorder; bowel problem <BR> -P-M upper gastric disorder; throat/mouth disorder <BR> +Ĺ L-M lower gastro-intestinal disorder; bowel problem <BR> +PĹ -M upper gastric disorder; throat/mouth disorder <BR> SL-N mid gastric disorder; stomach/esophagal disorder <BR> KS-N ocular/eye disorder <BR> PS-N nasal disorder <BR> -P-N mid/inner ear disorder; hearing problem <BR> +PĹ -N mid/inner ear disorder; hearing problem <BR> PŞ-N topical skin disorder <BR> KL-N invasive skin disorder <BR> -K-N auto-immune condition <BR> +KĹ -N auto-immune condition <BR> KŞ-N blood/hematological disorder <BR> PL-N glandular/endocrine disorder <BR> -TL-N liver disorder SSD derivatives:<BR> -ŢL-N cellular/metabolic disorder SSD derivative: 1) diabetes (Type 2 only)<BR> +TL-N liver disorder â SSD derivatives:<BR> +ŢL-N cellular/metabolic disorder â SSD derivative: 1) diabetes (Type 2 only)<BR> XL-N inflammatory disorder<BR> SL-M degenerative tissue disorder<BR> - FL-N physical brain disorder (i.e., discernible lesion) SSD Derivatives: general dementia, multi-infarct dementia, stroke <BR> -ŞL- M mental disorder (i.e., no discernible lesion) SSD Derivatives: 1) schizo-affective 2) sociopathic condition 3) schizophrenia 4) personality disorder 5) depression 6) dissociative disorder 7) manic condition, mania 8) unknown disorder 9) bipolar condition<BR> + FL-N physical brain disorder (i.e., discernible lesion) â SSD Derivatives: general dementia, multi-infarct dementia, stroke <BR> +ŞL- M mental disorder (i.e., no discernible lesion) â SSD Derivatives: 1) schizo-affective 2) sociopathic condition 3) schizophrenia 4) personality disorder 5) depression 6) dissociative disorder 7) manic condition, mania 8) unknown disorder 9) bipolar condition<BR> ŞL- N spinal condition or disorder<BR> FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT>-<FONT size="-1">Ņ</FONT></STRONG> GASTRONOMIC PAROXYSM</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT>-<FONT size="-1">Ņ</FONT></STRONG> âGASTRONOMIC PAROXYSMâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2874,7 +2874,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <BLOCKQUOTE> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">K-L SPEAK/VOICE/ORAL SOUND/INTERPRETATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">K-L âSPEAK/VOICE/ORAL SOUND/INTERPRETATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2900,14 +2900,14 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>same as above 3 stems referring to physical production of sound</P></TD> <TD width="185" valign="top"><P>same as above 3 stems referring to communication/conveying of content</P></TD> <TD width="185" valign="top"><P>same as above 3 stems referring to objective meaning, signification or denotation</P></TD> - <TD width="185" valign="top"><P>same as above 3 stems referring to subjective interpretation, connotation or impact</P></TD> + <TD width="185" valign="top"><P>same as above 3 stems referring to subjective interpretation, connotation or âimpactâ</P></TD> </TR> </TBODY></TABLE> <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: voice, (a) language, linguistic(s), yell, shout, cry, bark/meow/bleat/neigh, etc., [vocal] message, account, recount, story, tell, eloquence, glib(ness), smooth-talk, rhetoric, speech, dialect, slang</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-L FOOL/CLOWN</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">KĹ -L âFOOL/CLOWNâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -2930,7 +2930,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> </TR> <TR> - <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems in non-serious context of in fun or for laughs</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems in non-serious context of âin funâ or âfor laughsâ</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems in poignant, sorrowful, pathetic context</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems in context of entertainment</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems in context of parody or as a foil for society</FONT></P></TD> @@ -2939,7 +2939,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Ķ-R - DESCRIPTION/ACCOUNT/STORY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Ķ-R - âDESCRIPTION/ACCOUNT/STORYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -2971,7 +2971,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-L - SIGN/MARK/SYMBOL/VISUAL MEANS OF INDICATION/REPRESENTATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-L - âSIGN/MARK/SYMBOL/VISUAL MEANS OF INDICATION/REPRESENTATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3003,7 +3003,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-L WRITE/INSCRIBE/DOCUMENT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-L âWRITE/INSCRIBE/DOCUMENTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3018,7 +3018,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="370" colspan="2" valign="top"><P>2. document</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. write [= compose via writing] / to author</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. âwriteâ [= compose via writing] / to author</P></TD> <TD width="370" colspan="2" valign="top"><P>3. a writing / a written work</P></TD> </TR> <TR> @@ -3036,7 +3036,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-R NAME/DESIGNATION/TITLE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-R âNAME/DESIGNATION/TITLEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3073,7 +3073,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Ġ GAS / FLUME</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Ġ âGAS / FLUMEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3143,36 +3143,36 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TBODY></TABLE> <P>The stems of this root are commonly used with the SUF, EXD, FLC, PTW and Intensity affixes. <BR> THE PATTERN FOR THIS ROOT IS APPLIED TO ALL OF THE FOLLOWING ROOTS:<BR> - T-B PROXIMITY/DISTANCE<BR> - K-B LENGTH<BR> - Ķ-B WIDTH (= SLENDERNESS)<BR> - Q-B GIRTH (= 2-DIMENSIONAL X-PLANAR DIMENSION)<BR> - P-B AMPLITUDE (= 2-DIMENSIONAL Z-PLANAR DIMENSION)<BR> - C-B REACH (= 2-DIMENSIONAL Y-PLANAR DIMENSION)<BR> - Č-B DEPTH<BR> - Ċ-B INTERVAL/GAP<BR> - Ç-B VOLUME (= 3-DIMENSIONAL SIZE)<BR> - Ņ-B SHARPNESS/DULLNESS OF A POINT<BR> - M-B SHARPNESS/DULLNESS OF AN EDGE <BR> - <FONT color="#000000">ST-B SPEED/VELOCITY/ACCELERATION</FONT><BR> - Ŗ-B HEIGHT (= TALLNESS RELATTIVE TO GRAVITY)<BR> - H-B FLATNESS/LEVELNESS (RELATIVE TO GRAVITY)<BR> - KS-B PERIPHERY/CIRCLE/RING<BR> - PL-B CONVEXITY/ROTUNDITY<BR> + T-B âPROXIMITY/DISTANCEâ<BR> + K-B âLENGTHâ<BR> + Ķ-B âWIDTH (= âSLENDERNESSâ)â<BR> + Q-B âGIRTH (= 2-DIMENSIONAL X-PLANAR DIMENSION)â<BR> + P-B âAMPLITUDE (= 2-DIMENSIONAL Z-PLANAR DIMENSION)â<BR> + C-B â âREACHâ (= 2-DIMENSIONAL Y-PLANAR DIMENSION)â<BR> + Č-B âDEPTHâ<BR> + Ċ-B âINTERVAL/GAPâ<BR> + Ă-B âVOLUME (= 3-DIMENSIONAL SIZE)â<BR> + Ņ-B âSHARPNESS/DULLNESS OF A POINTâ<BR> + M-B âSHARPNESS/DULLNESS OF AN EDGEâ <BR> + <FONT color="#000000">ST-B âSPEED/VELOCITY/ACCELERATIONâ</FONT><BR> + Ŗ-B âHEIGHT (= âTALLNESSâ â RELATTIVE TO GRAVITY)<BR> + H-B âFLATNESS/LEVELNESS (RELATIVE TO GRAVITY)â<BR> + KS-B âPERIPHERY/CIRCLE/RINGâ<BR> + PL-B âCONVEXITY/ROTUNDITYâ<BR> KŢ-B CONCAVITY/DEPRESSION<BR> - S-B PERPENDICULARITY/UPRIGHTNESS<BR> - -B PLANARITY/FLATNESS RELATIVE TO OBJECT ITSELF<BR> - Ş-B STRAIGHTNESS/LINEARITY RELATIVE TO OBJECT ITSELF<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">B</FONT> SPHERICALNESS/ROUNDNESS<BR> - KL-B EVEN (= SMOOTH-SURFACED IN PLANAR CONTEXT)<BR> - TL-B EVEN (= SMOOTH-EDGED IN LINEAR CONTEXT)<BR> - XL-B RECTILINEAR/POLYHEDRAL/STRAIGHT-ANGLED<BR> - Ļ-B ELASTICITY / STRETCH CAPACITY</P> + S-B âPERPENDICULARITY/UPRIGHTNESSâ<BR> + Ĺ -B âPLANARITY/FLATNESS RELATIVE TO OBJECT ITSELFâ<BR> + Ş-B âSTRAIGHTNESS/LINEARITY RELATIVE TO OBJECT ITSELFâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">B</FONT> âSPHERICALNESS/ROUNDNESSâ<BR> + KL-B â âEVENâ (= SMOOTH-SURFACED IN PLANAR CONTEXT)â<BR> + TL-B â âEVENâ (= SMOOTH-EDGED IN LINEAR CONTEXT)â<BR> + XL-B âRECTILINEAR/POLYHEDRAL/STRAIGHT-ANGLEDâ<BR> + Ļ-B âELASTICITY / STRETCH CAPACITYâ</P> <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: big/large, small/little, shrink, expand, grow, diminish, huge, immense, tiny, enormous, shallow</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">SX-B QUALITY OR PROPERTY OF MATTER</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">SX-B âQUALITY OR PROPERTY OF MATTERâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3197,22 +3197,22 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> </TBODY></TABLE> <P>The stems of this root are commonly used with the SUF, EXD, FLC, PTW and Intensity affixes. <BR> - <FONT color="#000000">PS-B THICKNESS (= VISCOSITY/RUNNINESS)<BR> - K-B TENSENESS (= STRAIN)<BR> - SL-B SOLIDITY/HOLLOWNESS (= PERMEABILITY)<BR> - SP-B DURABILITY/FRAGILITY (= CAPACITY FOR BEING DAMAGED)<BR> - SŢ-B RESILIENCE/DELICATENESS (= CAPACITY FOR RECOVERY)<BR> - ŢL-B TENSENESS (= STRAIN)<BR> - P-B SMOOTHNESS/ROUGHNESS (= TACTILE COARSENESS)<BR> - FL-B FULLNESS/EMPTINESS<BR> - Ţ-B FLEXIBILITY/RIGIDITY<BR> - X-B HARD/SOFT (= MALLEABILITY)<BR> - F-B TIGHTNESS/SLACK (= TAUTNESS)</FONT><BR> - R-B WEIGHT/MASS</P> + <FONT color="#000000">PS-B âTHICKNESS (= VISCOSITY/RUNNINESS)<BR> + KĹ -B âTENSENESS (= STRAIN)â<BR> + SL-B âSOLIDITY/HOLLOWNESS (= PERMEABILITY)â<BR> + SP-B âDURABILITY/FRAGILITYâ (= CAPACITY FOR BEING DAMAGED)<BR> + SŢ-B âRESILIENCE/DELICATENESSâ (= CAPACITY FOR RECOVERY)<BR> + ŢL-B âTENSENESS (= STRAIN)â<BR> + PĹ -B âSMOOTHNESS/ROUGHNESS (= TACTILE COARSENESS)<BR> + FL-B âFULLNESS/EMPTINESSâ<BR> + Ţ-B âFLEXIBILITY/RIGIDITYâ<BR> + X-B âHARD/SOFT (= MALLEABILITY)â<BR> + F-B âTIGHTNESS/SLACKâ (= TAUTNESS)</FONT><BR> + R-B âWEIGHT/MASSâ</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">PL-D COLOR/HUE</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">PL-D âCOLOR/HUEâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3244,11 +3244,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="194" valign="top"><P>3. a dark color</P></TD> </TR> </TBODY></TABLE> - <P>NOTE: This stem patterns for the above root are a template for all other roots donating a specific color. The following root K-D RED provides an example.</P> + <P>NOTE: This stem patterns for the above root are a template for all other roots donating a specific color. The following root K-D âREDâ provides an example.</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">K-D RED</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">K-D âREDâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3280,12 +3280,12 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="194" valign="top"><P>3. dark red</P></TD> </TR> </TBODY></TABLE> - <P>SIMILARLY: T-D BLUE, N-D GREEN, H-D YELLOW, Q-D ORANGE, L-D SKY BLUE, F-D PINK, Ç-D PURPLE, R-D OCHRE, Ķ-D ECRU, Ţ-D BEIGE/TAN, Ņ-D PEACH, Ļ-D MAUVE, Ŗ-D LAVENDER, C-D BURGUNDY, Ş-D TEAL, <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">D</FONT> TURQUOISE, -D AQUAMARINE, Č-D BROWN, X-D WHITE, M-D BLACK, S-D GRAY, P-D YELLOW-GREEN, Ċ-D MAROON<BR> - The -V1t affix provides the following distinctions for all color-stems: 1) extra light 2) pale (= mixed with gray) 3) clear, transparent 4) fluorescent 5) vibrant / bright 6) ish 7) translucent 8) opaque 9) extra dark</P> + <P>SIMILARLY: T-D âBLUEâ, N-D âGREENâ, H-D âYELLOWâ, Q-D âORANGEâ, L-D âSKY BLUEâ, F-D âPINKâ, Ă-D âPURPLEâ, R-D âOCHREâ, Ķ-D âECRUâ, Ţ-D âBEIGE/TANâ, Ņ-D âPEACHâ, Ļ-D âMAUVEâ, Ŗ-D âLAVENDERâ, C-D âBURGUNDYâ, Ş-D âTEALâ, <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">D</FONT> âTURQUOISEâ, Ĺ -D âAQUAMARINEâ, Č-D âBROWNâ, X-D âWHITEâ, M-D âBLACKâ, S-D âGRAYâ, P-D âYELLOW-GREENâ, Ċ-D âMAROONâ<BR> + The -V1tâ affix provides the following distinctions for all color-stems: 1) extra light 2) pale (= mixed with gray) 3) clear, transparent 4) fluorescent 5) vibrant / bright 6) âish 7) translucent 8) opaque 9) extra dark</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">XL-D WATER AS SUBSTANCE AND TOOL</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">XL-D âWATER AS SUBSTANCE AND TOOLâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3310,11 +3310,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TR> <TD width="185" valign="top"><P>1. (some) water [substance itself]</P></TD> <TD width="185" valign="top"><P>1. degree of moisture [from water]</P></TD> - <TD width="185" valign="top"><P>1. (some) water of ones corporeal body</P></TD> + <TD width="185" valign="top"><P>1. (some) water of oneâs corporeal body</P></TD> <TD width="185" valign="top"><P>1. hydration; hydrate</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>2. water as tool (e.g., for washing, for powering a turbine, etc.)</P></TD> + <TD width="185" valign="top"><P>2. water as âtoolâ (e.g., for washing, for powering a turbine, etc.)</P></TD> <TD width="185" valign="top"><P>2. wash, clean [with water]</P></TD> <TD width="185" valign="top"><P>2. act of drinking water; to drink water</P></TD> <TD width="185" valign="top"><P>2. to water (e.g., plants)</P></TD> @@ -3330,7 +3330,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">KL-D WATER IN NATURAL MOTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">KL-D âWATER IN NATURAL MOTIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3362,20 +3362,20 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>2. water component of a sprinkle/shower</P></TD> <TD width="185" valign="top"><P>2. trajectory or course of a sprinkle/shower</P></TD> <TD width="185" valign="top"><P>2. water component of rain</P></TD> - <TD width="185" valign="top"><P>2. path or course of a rain shower</P></TD> + <TD width="185" valign="top"><P>2. âpathâ or course of a rain shower</P></TD> </TR> <TR> <TD width="185" valign="top"><P>3. water component of a cascade or pouring of water</P></TD> <TD width="185" valign="top"><P>3. trajectory or course of a pouring of water</P></TD> <TD width="185" valign="top"><P>3. water component of a waterfall</P></TD> - <TD width="185" valign="top"><P>3. channel or groove of a waterfall </P></TD> + <TD width="185" valign="top"><P>3. channel or âgrooveâ of a waterfall </P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: flood, downpour, to rain cats and dogs, brook, stream, rivulet, arroyo, floodplain</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: flood, downpour, to rain âcats and dogsâ, brook, stream, rivulet, arroyo, floodplain</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-D WATER IN STATIC SETTING</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-D âWATER IN STATIC SETTINGâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3421,14 +3421,14 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">M-G HORIZONTAL SUPPORTING SURFACE AGAINST GRAVITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">M-G âHORIZONTAL SUPPORTING SURFACE AGAINST GRAVITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> <TD width="370" colspan="2" valign="top"><P align="center">FORMAL Stems</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>1. ground/firmament</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. âgroundâ/firmament</P></TD> <TD width="370" colspan="2" valign="top"><P>1. floor</P></TD> </TR> <TR> @@ -3453,7 +3453,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">L-G ARTICLE OF CLOTHING</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">L-G âARTICLE OF CLOTHINGâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3495,29 +3495,29 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> </TBODY></TABLE> <P>THE STEM PATTERN OF THIS ROOT APPLIES TO THE FOLLOWING ROOTS: <BR> - P-G SHIRT/BLOUSE<BR> - T-G PANTS<BR> - Č-G COAT/JACKET<BR> - Ķ-G GLOVE<BR> - Q-G SCARF<BR> - S-G HAT<BR> - -G FOOTWEAR<BR> - K-G LEGGING/SOCK<BR> - <FONT color="#000000">Ç-G BELT<BR> - X-G APRON<BR> - PL-G COLLAR<BR> - TL-G NECKTIE/CRAVATTE<BR> - KL-G HELMET<BR> - Ţ-G SKIRT/KILT<BR> - F-G DRESS<BR> - PS-G VEIL<BR> - KS-G SARI<BR> - Ċ-G TUNIC<BR> - Č-G ROBE(S)/TOGA</FONT></P> + P-G âSHIRT/BLOUSEâ<BR> + T-G âPANTSâ<BR> + Č-G âCOAT/JACKETâ<BR> + Ķ-G âGLOVEâ<BR> + Q-G âSCARFâ<BR> + S-G âHATâ<BR> + Ĺ -G âFOOTWEARâ<BR> + K-G âLEGGING/SOCKâ<BR> + <FONT color="#000000">Ă-G âBELTâ<BR> + X-G âAPRONâ<BR> + PL-G âCOLLARâ<BR> + TL-G âNECKTIE/CRAVATTE<BR> + KL-G âHELMETâ<BR> + Ţ-G âSKIRT/KILTâ<BR> + F-G âDRESSâ<BR> + PS-G âVEILâ<BR> + KS-G âSARIâ<BR> + Ċ-G âTUNICâ<BR> + Č-G âROBE(S)/TOGAâ</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ļ-G PLANETARY BODY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ļ-G âPLANETARY BODYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3550,7 +3550,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P><A name="liquid"></A></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N-Ġ LIQUID/FLUID</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N-Ġ âLIQUID/FLUIDâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3591,11 +3591,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P><FONT color="#000000">3. viscous state (quasi-liquid but able to be deformed/shaped; semi-solid)</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">The stem pattern above also applies to the root P-Ġ liquid chemical.</FONT></P> + <P><FONT color="#000000">The stem pattern above also applies to the root P-Ġ âliquid chemicalâ.</FONT></P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">R-G LIGHT / RADIANT ENERGY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">R-G âLIGHT / RADIANT ENERGYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3607,7 +3607,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. the Sun / Sol</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. flame / tongue of fire</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. flame / âtongueâ of fire</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. star</P></TD> @@ -3640,7 +3640,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SP-G ROCK/MINERAL-BASED SOIL/GROUND</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SP-G âROCK/MINERAL-BASED SOIL/GROUNDâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3672,7 +3672,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P><A name="solid"></A></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Ġ (QUASI-)SOLID SUBSTANCE (i.e., non-liquid & non-gaseous)</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Ġ â(QUASI-)SOLID SUBSTANCE (i.e., non-liquid & non-gaseous)â</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3720,7 +3720,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ċ-Ļ THREE-DIMENSIONAL SPHEROID SHAPES/FORMS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Ċ-Ļ âTHREE-DIMENSIONAL SPHEROID SHAPES/FORMSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3752,7 +3752,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">F-Ç COMPONENTIAL PART OF WHOLE</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">F-Ă âCOMPONENTIAL PART OF WHOLEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3777,7 +3777,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="185" valign="top"><P><FONT color="#000000">2. phsycial appearance/condition of component/part</FONT></P></TD> - <TD width="185" valign="top"><P><FONT color="#000000">2. impact/effect of components/parts condition on its function/purpose</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">2. impact/effect of componentâs/partâs condition on its function/purpose</FONT></P></TD> </TR> <TR> <TD width="185" valign="top"><P><FONT color="#000000">3. component/part itself as seen in relation to the greater whole</FONT></P></TD> @@ -3785,22 +3785,22 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> </TBODY></TABLE> <P>THE ABOVE PATTERN APPLIED TO FOLLOWING ROOTS <BR> - <FONT color="#000000">Ţ-Ç front [relative to directional orientation or primary interface]<BR> - Ç-Ç rear, back part of [relative to directional orientation or primary interface]<BR> - X-Ç side/flank, lateral area<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">Ç</FONT> middle, center (as seen perpendicular to long axis of entity)<BR> - S-Ç middle, center (as seen parallel to long axis of entity)<BR> - Ş-Ç top, peak, summit<BR> - SP-Ç bottom, lowest part of, foundation<BR> - ST-Ç upper part or half<BR> - SK-Ç lower part or half<BR> - SF-Ç edge<BR> - SŢ -Ç interior, inner/internal part of, insides, innards<BR> - SX-Ç exterior, outer/external part of, outside, skin</FONT></P> + <FONT color="#000000">Ţ-Ă âfront [relative to directional orientation or primary interface]â<BR> + Ă-Ă ârear, back part of [relative to directional orientation or primary interface]â<BR> + X-Ă âside/flank, lateral areaâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">Ă</FONT> âmiddle, center (as seen perpendicular to long axis of entity)<BR> + S-Ă âmiddle, center (as seen parallel to long axis of entity)<BR> + Ş-Ă âtop, peak, summitâ<BR> + SP-Ă âbottom, lowest part of, foundationâ<BR> + ST-Ă âupper part or âhalfââ<BR> + SK-Ă âlower part or âhalfââ<BR> + SF-Ă âedgeâ<BR> + SŢ -Ă âinterior, inner/internal part of, insides, innardsâ<BR> + SX-Ă âexterior, outer/external part of, outside, âskinââ</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">F-Ļ VERTICAL ELEVATION</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">F-Ļ âVERTICAL ELEVATIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3835,7 +3835,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">H-F PATH-ORIENTED TRANSLATIVE MOTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">H-F âPATH-ORIENTED TRANSLATIVE MOTIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -3858,8 +3858,8 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>1. motion outward; go</P></TD> - <TD width="185" valign="top"><P>1. motion inward; come</P></TD> + <TD width="185" valign="top"><P>1. motion âoutwardâ; go</P></TD> + <TD width="185" valign="top"><P>1. motion âinwardâ; come</P></TD> <TD width="185" valign="top"><P>1. go travelling / be off</P></TD> <TD width="185" valign="top"><P>1. journey toward </P></TD> </TR> @@ -3878,33 +3878,33 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TBODY></TABLE> <P>Morphological derivations: sojourn, set off / set out, set in motion; self-directed movement<BR> THE PATTERN FOR THE ABOVE ROOT IS APPLIED TO ALL OF THE FOLLOWING ROOTS:<BR> - P-Ţ VERTICAL MOTION / ASCENT & DESCENT / UP & DOWN<BR> - S-Ţ OBLIQUE VERTICAL MOTION<BR> - L-Ţ PLANAR RANGE OF MOTION (= randomly directed movement within/throughout 2-dimensional horizontal plane)<BR> - T-Ţ VERTICAL RANGE OF MOTION (= randomly directed movement within<FONT color="#009900">/throughout </FONT> 2-dimensional vertical plane)<BR> - SK-Ţ <FONT color="#009900">GENERIC OR </FONT>OBLIQUE 3-DIMENSIONAL RANGE OF MOTION/3-DIMENSIONAL PERVASIVE MOVEMENT / MOVEMENT THROUGHOUT 3-D VOLUME<BR> - N-Ţ LINEAR/HORIZONTAL MOTION ALONG Y-AXIS RELATIVE TO TOPICAL REFERENT <BR> - Č-Ţ LINEAR/HORIZONTAL MOTION ALONG X-AXIS RELATIVE TO TOPICAL REFERENT<BR> - KŢ-F CIRCULAR MOTION IN HORIZONTAL PLANE<BR> - FL-F CIRCULAR MOTION IN VERTICAL PLANE<BR> - K-F GENERIC OR OBLIQUE CIRCULAR MOTION<BR> - ŞQ-F SPIRAL MOTION ALONG HORIZONTAL PLANE<BR> - ŢL-F SPIRAL MOTION ALONG VERTICAL PLANE<BR> - ŞK-F GENERIC OR OBLIQUE SPIRAL MOTION<BR> - KŢ-Ţ CIRCULAR VECTOR MOTION (i.e., corkscrew motion)<BR> - QŢ-Ţ SPIRAL VECTOR MOTION (i.e., corkscrew motion with increasing or decreasing amplitude)<BR> - X-Ţ ARC / PARABOLIC MOTION RELATIVE TO GRAVITY<BR> - ST-Ţ CURVED MOTION / CURVE<BR> - <FONT color="#000000">XL-F SWITCH BACK / VEER<BR> - SL-F OBLIQUELY LINEAR MOTION (relative to XYZ grid)</FONT><BR> - SP-F 2-DIMENSIONAL EXTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG PERIPHERY OR OUTSIDE EDGE encircle, surround<BR> - Q-Ţ 2-DIMENSIONAL INTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG BOUNDARY OR INSIDE EDGE <BR> - KL-F 3-DIMENSIONAL EXTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG PERIPHERY OR SURFACE OF<BR> - SL-Ţ 3-DIMENSIONAL INTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG INTERNAL 3-D BOUNDARY OF</P> + P-Ţ âVERTICAL MOTION / ASCENT & DESCENT / UP & DOWNâ<BR> + S-Ţ âOBLIQUE VERTICAL MOTIONâ<BR> + L-Ţ âPLANAR RANGE OF MOTIONâ (= randomly directed movement within/throughout 2-dimensional horizontal plane)<BR> + T-Ţ âVERTICAL RANGE OF MOTIONâ (= randomly directed movement within<FONT color="#009900">/throughout </FONT> 2-dimensional vertical plane)<BR> + SK-Ţ â<FONT color="#009900">GENERIC OR </FONT>OBLIQUE 3-DIMENSIONAL RANGE OF MOTION/3-DIMENSIONAL PERVASIVE MOVEMENT / MOVEMENT THROUGHOUT 3-D VOLUMEâ<BR> + N-Ţ âLINEAR/HORIZONTAL MOTION ALONG Y-AXIS RELATIVE TO TOPICAL REFERENTâ <BR> + Č-Ţ âLINEAR/HORIZONTAL MOTION ALONG X-AXIS RELATIVE TO TOPICAL REFERENTâ<BR> + KŢ-F âCIRCULAR MOTION IN HORIZONTAL PLANEâ<BR> + FL-F âCIRCULAR MOTION IN VERTICAL PLANEâ<BR> + Ĺ K-F âGENERIC OR OBLIQUE CIRCULAR MOTIONâ<BR> + ŞQ-F âSPIRAL MOTION ALONG HORIZONTAL PLANEâ<BR> + ŢL-F âSPIRAL MOTION ALONG VERTICAL PLANEâ<BR> + ŞK-F âGENERIC OR OBLIQUE SPIRAL MOTIONâ<BR> + KŢ-Ţ âCIRCULAR VECTOR MOTIONâ (i.e., âcorkscrewâ motion)<BR> + QŢ-Ţ âSPIRAL VECTOR MOTION (i.e., corkscrew motion with increasing or decreasing amplitude)<BR> + X-Ţ âARC / PARABOLIC MOTION RELATIVE TO GRAVITYâ<BR> + ST-Ţ âCURVED MOTION / CURVEâ<BR> + <FONT color="#000000">XL-F âSWITCH BACK / VEERâ<BR> + SL-F âOBLIQUELY LINEAR MOTION (relative to XYZ grid)</FONT><BR> + SP-F â2-DIMENSIONAL EXTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG PERIPHERY OR OUTSIDE EDGEâ encircle, surround<BR> + Q-Ţ â2-DIMENSIONAL INTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG BOUNDARY OR INSIDE EDGEâ <BR> + KL-F â3-DIMENSIONAL EXTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG PERIPHERY OR SURFACE OFâ<BR> + SL-Ţ â3-DIMENSIONAL INTERNAL CIRCUMLATIVE MOTION / MOVEMENT AROUND/ALONG INTERNAL 3-D BOUNDARY OFâ</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Ļ LONGITUDE / EAST-WEST</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Ļ âLONGITUDE / EAST-WESTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3948,7 +3948,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-Ļ LATITUDE / NORTH-SOUTH</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K-Ļ âLATITUDE / NORTH-SOUTHâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -3992,7 +3992,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0" bordercolor="#808080"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">K-Ţ ANGULAR STRUCTURE / CORNER</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">K-Ţ âANGULAR STRUCTURE / CORNERâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -4027,7 +4027,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">KL-Ç THREE-DIMENSIONAL BLOCK-LIKE SHAPES/FORMS</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">KL-Ă âTHREE-DIMENSIONAL BLOCK-LIKE SHAPES/FORMSâ</FONT></P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -4054,7 +4054,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">M-Ļ CURVATURE/BENDING/OPEN LINEAR FORMS OR SHAPES</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">M-Ļ âCURVATURE/BENDING/OPEN LINEAR FORMS OR SHAPESâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4095,13 +4095,13 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>3. object manifesting a mathematically determined form made of lines</P></TD> </TR> </TBODY></TABLE> - <P>Morphological Derivatives: fold, bend, pleat, zig-zag/sawtooth/serrated pattern, undulate/undulation, S-curve, wave(s)/wavy, bent, crooked, jagged, serrated, curvature<BR> + <P>Morphological Derivatives: fold, bend, pleat, zig-zag/âsawtoothâ/serrated pattern, undulate/undulation, S-curve, wave(s)/wavy, bent, crooked, jagged, serrated, curvature<BR> The above root use PHASE and the iterative series of affixes to specify extent/number/pattern of folds.<BR> SSD Derivatives for INFORMAL Stem 3: parabola, hyperbola, exponential curve</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">M-Ţ ACCESS/PASSAGE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">M-Ţ âACCESS/PASSAGEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4146,8 +4146,8 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE width="751" border="1" cellpadding="0" cellspacing="0" bordercolor="#FF0000"> <TBODY><TR> - <TD colspan="4" valign="top"><P align="center">N-Ļ PRESSURE-BASED or REACTION-BASED <BR> - or GRAVITATION-BASED EQUILIBRIUM/MOTION/PROPULSION</P></TD> + <TD colspan="4" valign="top"><P align="center">N-Ļ âPRESSURE-BASED or REACTION-BASED <BR> + or GRAVITATION-BASED EQUILIBRIUM/MOTION/PROPULSIONâ</P></TD> </TR> <TR> <TD colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4179,7 +4179,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD colspan="3" valign="top"><P align="center">P-Ç INVERSION</P></TD> + <TD colspan="3" valign="top"><P align="center">P-Ă âINVERSIONâ</P></TD> </TR> <TR> <TD colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4214,7 +4214,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-Ļ RECLINE / PRONE POSITION OR ORIENTATION / HORIZONTALITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-Ļ âRECLINE / PRONE POSITION OR ORIENTATION / HORIZONTALITY</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4222,7 +4222,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. recline(d) / prone position (relative to long axis of object) / lie (down) / lay (out) </P></TD> - <TD width="370" colspan="2" valign="top"><P>1. horizontal (relative to gravity or plane of the earths surface) / orientation perpendicular to direction of gravity</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. horizontal (relative to gravity or plane of the earthâs surface) / orientation perpendicular to direction of gravity</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. recumbent position / position of relaxation relative to gravity --> sprawl, loll</P></TD> @@ -4246,7 +4246,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SF-Ļ QUASI-TWO-DIMENSIONAL SHAPES/FORMS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SF-Ļ âQUASI-TWO-DIMENSIONAL SHAPES/FORMSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -4278,7 +4278,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">SK-F SPATIAL ORIENTATION / POSITION / DIRECTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">SK-F âSPATIAL ORIENTATION / POSITION / DIRECTIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4286,37 +4286,37 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. general spatial position [currently or within context of utterance]; be situated at</P></TD> - <TD width="370" colspan="2" valign="top"><P>1. specific spatial position at end point; be situated at end point of</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. specific spatial position at âend pointâ; be situated at âend pointâ of</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. general orientation (along or relative to directional axes); to face [toward]</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. specific orientation toward end point of; to face squarely</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. general orientation (along or relative to directional axes); to âfaceâ [toward]</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. specific orientation toward âend pointâ of; to âfaceâ squarely</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. general direction/axis of movement; direct/move along axis of</P></TD> - <TD width="370" colspan="2" valign="top"><P>3. specific direction/axis of movement toward end point of; to head straight for</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. specific direction/axis of movement toward âend pointâ of; to head straight for</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>1. general position toward one side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>1. general position toward other side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>1. specific position at one end of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>1. specific position at other side of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>1. general position toward âone sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>1. general position toward âother sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>1. specific position at âone endâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>1. specific position at âother sideâ of opposed spatial points</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>2. general orientation toward one side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>2. general orientation toward other side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>2. specific orientation toward one end of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>2. specific orientation toward other end of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>2. general orientation toward âone sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>2. general orientation toward âother sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>2. specific orientation toward âone endâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>2. specific orientation toward âother endâ of opposed spatial points</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>3. general direction toward one side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>3. general direction toward other side of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>3. specific direction toward one end of opposed spatial points</P></TD> - <TD width="185" valign="top"><P>3. specific direction toward other end of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>3. general direction toward âone sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>3. general direction toward âother sideâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>3. specific direction toward âone endâ of opposed spatial points</P></TD> + <TD width="185" valign="top"><P>3. specific direction toward âother endâ of opposed spatial points</P></TD> </TR> </TBODY></TABLE> <P>THE ABOVE PATTERN OF STEMS IS APPLIED TO THE FOLLOWING ROOTS BASED ON THE FOLLOWING 3-DIMENSIONAL NOTATIONAL SCHEMA: <BR> @@ -4324,42 +4324,42 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> -Y = BEHIND, +Y = AHEAD<BR> -Z = BELOW, + Z = ABOVE<BR> 0 = LEVEL WITH OR IN LINE WITH SPECIFIC X, Y, OR Z AXIS<BR> - PL-F +X/+Y/+Z<BR> - Ņ-F +X/+Y/-Z<BR> - R-F +X/-Y/+Z<BR> - Ŗ-F + X/-Y/-Z<BR> - Ļ-F -X/+Y/+Z<BR> - PS-F -X/+Y/-Z<BR> - KS-F -X/-Y/+Z<BR> - PŢ- F -X/-Y/-Z<BR> - Ķ-F +X/+Y/0<BR> - K-F +X/-Y/0<BR> - Q-F -X/+Y/0<BR> - M-F -X/-Y/0<BR> - F-F +X/0/+Z<BR> - Ţ-F +X/0/-Z<BR> - Ç-F -X/0/+Z<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">F</FONT> -X/0/-Z<BR> - S-F 0/+Y/+Z<BR> - Ş-F 0/+Y/-Z<BR> - C-F 0/-Y/+Z <BR> - Ċ-F 0/-Y/-Z<BR> - Č-F +X/0/0<BR> - -F -X/0/0<BR> - L-F 0/+Y/0<BR> - N-F 0/-Y/0<BR> - P-F 0/0/+Z<BR> - T-F 0/0/-Z<BR> - SK-F 0/0/0<BR> - SF-F POSITION BETWEEN / AMIDST / AMONG [linear unidimensional context, e.g., between two others in a queue]<BR> - L-F POSITION BETWEEN / AMIDST / AMONG [planar 2-dimensional context, e.g., among others in a crowded room]<BR> - P-F POSITION BETWEEN / AMIDST / AMONG [volume-based 3-dimensional context, e.g., sky crowded with balloonists]<BR> - T-F INTERTWINED/INTERMINGLED/INTERMIXED POSITION/STATE [individual components separable/extractable]<BR> - TL-F INTERTWINED/INTERMINGLED/INTERMIXED POSITION/STATE [individual components inseparable/mixed/permanently combined]</P> + PL-F â+X/+Y/+Zâ<BR> + Ņ-F â+X/+Y/-Zâ<BR> + R-F â+X/-Y/+Zâ<BR> + Ŗ-F â+ X/-Y/-Zâ<BR> + Ļ-F â-X/+Y/+Zâ<BR> + PS-F â-X/+Y/-Zâ<BR> + KS-F â-X/-Y/+Zâ<BR> + PŢ- F â-X/-Y/-Zâ<BR> + Ķ-F â+X/+Y/0â<BR> + K-F â+X/-Y/0â<BR> + Q-F â-X/+Y/0â<BR> + M-F â-X/-Y/0â<BR> + F-F â+X/0/+Zâ<BR> + Ţ-F â+X/0/-Zâ<BR> + Ă-F â-X/0/+Zâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>-<FONT size="-1">F</FONT> â-X/0/-Zâ<BR> + S-F â0/+Y/+Zâ<BR> + Ş-F â0/+Y/-Zâ<BR> + C-F â0/-Y/+Zâ <BR> + Ċ-F â0/-Y/-Zâ<BR> + Č-F â+X/0/0â<BR> + Ĺ -F â-X/0/0â<BR> + L-F â0/+Y/0â<BR> + N-F â0/-Y/0â<BR> + P-F â0/0/+Zâ<BR> + T-F â0/0/-Zâ<BR> + SK-F â0/0/0â<BR> + SF-F âPOSITION BETWEEN / AMIDST / AMONG [linear unidimensional context, e.g., between two others in a queue]<BR> + Ĺ L-F âPOSITION BETWEEN / AMIDST / AMONG [planar 2-dimensional context, e.g., among others in a crowded room]<BR> + Ĺ P-F âPOSITION BETWEEN / AMIDST / AMONG [volume-based 3-dimensional context, e.g., sky crowded with balloonists]<BR> + Ĺ T-F âINTERTWINED/INTERMINGLED/INTERMIXED POSITION/STATEâ [individual components separable/extractable]<BR> + TL-F âINTERTWINED/INTERMINGLED/INTERMIXED POSITION/STATEâ [individual components inseparable/mixed/permanently combined]</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SL-Ç ONE-DIMENSIONAL (i.e., LINEAR) SHAPES/FORMS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SL-Ă âONE-DIMENSIONAL (i.e., LINEAR) SHAPES/FORMSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -4391,7 +4391,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SP-Ţ TWO-DIMENSIONAL OUTLINE SHAPES</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">SP-Ţ âTWO-DIMENSIONAL OUTLINE SHAPESâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -4407,7 +4407,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. generic 2-D outline vertically elongated</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. 2-D outline shape medially compressed, i.e., squished/pinched in the middle</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. 2-D outline shape medially compressed, i.e., âsquished/pinched in the middleâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> @@ -4420,18 +4420,18 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems referring to an object having that shape or form</FONT></P></TD> </TR> </TBODY></TABLE> - <P>The above roots stem pattern is applied to all of the following roots:<BR> - <FONT color="#000000">XL-Ţ : square/rectangle/rhombus<BR> - R-Ļ : circle/ellipse<BR> - PS-Ç : oval<BR> - F-Ţ : egg-shaped<BR> - -Ç : half-circle/semi-circle<BR> - K-Ç : sliver-moon shaped<BR> - SX-Ţ : irregular/amorphous outline</FONT></P> + <P>The above rootâs stem pattern is applied to all of the following roots:<BR> + <FONT color="#000000">XL-Ţ : âsquare/rectangle/rhombusâ<BR> + R-Ļ : âcircle/ellipseâ<BR> + PS-Ă : âovalâ<BR> + Ĺ F-Ţ : âegg-shapedâ<BR> + Ĺ -Ă : âhalf-circle/semi-circleâ<BR> + K-Ă : âsliver-moon shapedâ<BR> + SX-Ţ : âirregular/amorphous outlineâ</FONT></P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">ST-F FIT/HOLD/CONTAIN AS INTERNAL-EXTERNAL PARTITION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">ST-F âFIT/HOLD/CONTAIN AS INTERNAL-EXTERNAL PARTITIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4454,8 +4454,8 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>same as above 3 stems referring to the physical boundaries (walls) which define the containment area and prevent contents from leaking or escaping</P></TD> - <TD width="185" valign="top"><P>same as above 3 stems referring to the space (room) within the holding area and protection of contents from external environment</P></TD> + <TD width="185" valign="top"><P>same as above 3 stems referring to the physical boundaries (âwallsâ) which define the containment area and prevent contents from leaking or escaping</P></TD> + <TD width="185" valign="top"><P>same as above 3 stems referring to the space (âroomâ) within the holding area and protection of contents from external environment</P></TD> <TD width="185" valign="top"><P>same as above 3 stems referring to the room as a container separating inside from outside</P></TD> <TD width="185" valign="top"><P>same as abvoe 3 stems referring to the space within the room as shelter or sanctuary</P></TD> </TR> @@ -4465,7 +4465,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">ST-Ļ 2-DIMENSIONAL CURVATURE/DISTORTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">ST-Ļ â2-DIMENSIONAL CURVATURE/DISTORTIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4510,7 +4510,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </FONT></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Ş-Ţ EXTERIORITY / POSITION OR ORIENTATION OUTSIDE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Ş-Ţ âEXTERIORITY / POSITION OR ORIENTATION OUTSIDEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4522,7 +4522,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. position/orientation somewhere outside of (2-D context), i.e., beyond/outside the area defined by a boundary line</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. an external surface / functional planar area beyond/outside the boundaries of (e.g., the out of bounds area of a tennis court)</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. an external surface / functional planar area beyond/outside the boundaries of (e.g., the âout of boundsâ area of a tennis court)</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. position/orientation somewhere outside of (3-D context), i.e., beyond/outside the volume set off by a boundary membrane, surface/wall, etc.</P></TD> @@ -4539,11 +4539,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>same as above 3 stems with focus on position on exterior surface (i.e. position on outside surface of boundary between interior and exterior</P></TD> </TR> </TBODY></TABLE> - <P>compare to root SX-Ç </P> + <P>compare to root SX-Ă </P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">-Ţ PATH/WAY/COURSE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Ĺ -Ţ âPATH/WAY/COURSEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4558,7 +4558,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="370" colspan="2" valign="top"><P>2. road [taken]</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. trajectory; move(ment) along a trajectory / sail / arc</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. trajectory; move(ment) along a trajectory / âsailâ / arc</P></TD> <TD width="370" colspan="2" valign="top"><P>3. channel [taken]</P></TD> </TR> <TR> @@ -4576,7 +4576,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-Ļ UPRIGHT POSITION OR ORIENTATION/VERTICALITY/PERPENDICULAR/PROTRUSION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-Ļ âUPRIGHT POSITION OR ORIENTATION/VERTICALITY/PERPENDICULAR/PROTRUSION</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4584,11 +4584,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. upright/erect position or orientation (relative to long axis of object) / stand (up)</P></TD> - <TD width="370" colspan="2" valign="top"><P>1. vertical (i.e., parallel to gravity or plane of earths surface)</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. vertical (i.e., parallel to gravity or plane of earthâs surface)</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. stick up or out/ protrude</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. occupying position of maximum contrast to a position of repose; position of maximum alertness or readiness or action</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. occupying position of maximum contrast to a position of repose; position of maximum âalertnessâ or readiness or action</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. perpendicular / position or orientation at right angles to background firmament (relative to long axis of object); be or stand on end</P></TD> @@ -4608,7 +4608,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-F AMBULATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-F âAMBULATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4616,7 +4616,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. ambulate (as natural to specific species, e.g., walk, slither, fly, crawl, etc.)</P></TD> - <TD width="370" colspan="2" valign="top"><P>1. formal ambulation, e.g., march, prance</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. âformalâ ambulation, e.g., march, prance</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. rapid ambulation (as per specific species, e.g., run, gallop, scamper, scurry, etc.)</P></TD> @@ -4642,7 +4642,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">X-Ļ TERRAIN-BASED/GEOGRAPHICAL ELEVATION</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">X-Ļ âTERRAIN-BASED/GEOGRAPHICAL ELEVATIONâ</P></TD> </TR> <TR> <TD width="379" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4677,7 +4677,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-Ţ INTERIORITY / POSITION OR ORIENTATION INSIDE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-Ţ âINTERIORITY / POSITION OR ORIENTATION INSIDEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4706,22 +4706,22 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>same as above 3 stems with focus on position on interior surface (i.e. position on inside surface of boundary between interior and exterior</P></TD> </TR> </TBODY></TABLE> - <P>compare to roots SŢ -Ç<FONT color="#009900"> </FONT></P> + <P>compare to roots SŢ -Ă<FONT color="#009900"> </FONT></P> <P> </P> </BLOCKQUOTE> <P><BR> <STRONG>CLASS 8 ROOTS: taxonomies of organic life</STRONG></P> <BLOCKQUOTE> - <P>The stem pattern of the following Class 8 Roots is identical to the pattern for the Class 4 Root <A href="ithkuil-lexicon.htm#foodplant">N-N FOOD PLANT</A>:<BR> + <P>The stem pattern of the following Class 8 Roots is identical to the pattern for the Class 4 Root <A href="ithkuil-lexicon.htm#foodplant">N-N âFOOD PLANT</A>â:<BR> P-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cabbage (plant/leaves of sp. Brassica oleracea capitata)<BR> Ķ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> lettuce (plant/leaves of genus Lactuca)<BR> Ċ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> spinach (plant/leaves of sp. Spinacia oleracea)<BR> F-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> tea (plant/leaves of sp. Camellia sinensis)<BR> - L-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> kelp (seaweed of orders Laminariales and Fucales)<BR> + Ĺ L-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> kelp (seaweed of orders Laminariales and Fucales)<BR> QŢ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> mustard (plant of sp. Brassica hirta / B. nigra / B. juncea)<BR> Ţ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> corn, maize (plant/seeds of sp. Zea mays)<BR> KŢ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> oat (plant/seed of genus Avena)<BR> - Ç-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> wheat (plant/seed of sp. Triticum aestivum)<BR> + Ă-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> wheat (plant/seed of sp. Triticum aestivum)<BR> PŢ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> tobacco (plant/leaves of sp. Nicotiana tabacum)<BR> SP-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> hemp, marijuana (plant/material of sp. Cannabis sativa)<BR> ŞP-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> sesame (plant/seed of genus Sesamum)<BR> @@ -4731,25 +4731,25 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> ŞT-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> soya, soybean (plant/seed of sp. Glycine max)<BR> PŞ -P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> peanut (plant/seed/pod of sp. Arachis hypogaea)<BR> S-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> rice (plant/seed of sp. Oryza sativa)<BR> - T-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> pepper (hot/sweet/bell pepper -- plant/pod of genus Capsicum)<BR> + Ĺ T-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> pepper (hot/sweet/bell pepper -- plant/pod of genus Capsicum)<BR> Ş-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> pepper (black -- plant/seed of sp. Piper nigrum)<BR> SK-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> millet<BR> ŞK-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> amaranth<BR> - K-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> sorghum<BR> + Ĺ K-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> sorghum<BR> SF-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> teff<BR> ŞF-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ginseng (plant/root of genus Panax)<BR> - K-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> potato (plant/tuber of sp. Solanum tuberosum)<BR> - P -P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> carrot (plant/root of sp. Daucus carota sativus)<BR> - F-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> yam, sweet potato<BR> + KĹ -P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> potato (plant/tuber of sp. Solanum tuberosum)<BR> + PĹ -P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> carrot (plant/root of sp. Daucus carota sativus)<BR> + Ĺ F-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> yam, sweet potato<BR> SX-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> garlic (herb of sp. Allium sativum)<BR> Ŗ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> onion (plant/bulb of sp. Allium sepa)<BR> L-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> grape (plant/fruit of genus Vitis)<BR> SŢ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> tomato (plant/berry of genus Lycopersicon)<BR> ŞŢ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> squash, melon (plant/fruit of genus Cucurbita grown for edible fruit)<BR> - Ţ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> gourd (plant/hard-rinded fruit of genera Lagenaria & Cucurbita)<BR> + Ĺ Ţ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> gourd (plant/hard-rinded fruit of genera Lagenaria & Cucurbita)<BR> ŞX-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> date (tree/fruit of sp. Phoenix dactylifera)<BR> - X-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cucumber (Cucumis sativus)<BR> - -Q<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> bamboo (plant/stem of genera Bambusa / Arundinaria / Dendrocalamus)<BR> + Ĺ X-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cucumber (Cucumis sativus)<BR> + Ĺ -Q<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> bamboo (plant/stem of genera Bambusa / Arundinaria / Dendrocalamus)<BR> N-Q<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cork (tree/elastic tissue of sp. Quercus suber)<BR> L-Q<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cotton (plant/fibers of genus Gossypium)<BR> H-Q<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ginger (plant/rhizome of genus Zingiber)<BR> @@ -4758,7 +4758,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> BRANCHED AND/OR LEAVED PLANT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âBRANCHED AND/OR LEAVED PLANTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4799,50 +4799,50 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>3. sap product/syrup</P></TD> </TR> </TBODY></TABLE> - <P>SSD Suffix = -V1t used as follows: 1) meat of fruit, 2) seed within fruit, 3) rind, 4) juice, 5) flavor, 6) odor of fruit, 7) oil, 8) [unassigned/specific to individual root] 9) fermented juice, i.e., wine<BR> + <P>SSD Suffix = -V1tâ used as follows: 1) meat of fruit, 2) seed within fruit, 3) rind, 4) juice, 5) flavor, 6) odor of fruit, 7) oil, 8) [unassigned/specific to individual root] 9) fermented juice, i.e., wine<BR> THE ABOVE PATTERN IS APPLIED TO THE FOLLOWING ROOTS:<BR> - C-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> BIRCH<BR> - T-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> SPRUCE<BR> - Ķ -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CEDAR<BR> - X-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> OAK<BR> - K-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PINE<BR> - Ċ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PALM<BR> - F-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CHERRY<BR> - Č-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> WALNUT<BR> - Ţ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> MAPLE<BR> - Ç-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ASH<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CYPRESS<BR> - S-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> BEECH<BR> - Ş-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> MAHOGANY<BR> - M-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> COCONUT<BR> - N-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> EUCALYPTUS<BR> - Ņ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> MAGNOLIA<BR> - -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> REDWOOD<BR> - H-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> LARCH<BR> - L-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ELM<BR> - Ļ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> FIG<BR> - R-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> BANANA<BR> - Ŗ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> YEW<BR> - PS-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ALMOND<BR> - PŞ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CHESTNUT<BR> - P-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ALDER<BR> - KS-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> OLIVE<BR> - KŞ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> POPLAR<BR> - TL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PINEAPPLE<BR> - K-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> APPLE<BR> - PL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ORANGE<BR> - KL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> LEMON<BR> - FL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> LIME<BR> - ŢL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PEAR<BR> - XL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PLUM<BR> - SL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> PEACH<BR> - ŞL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> TANGERINE<BR> - Q-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> COFFEE<BR> - <FONT color="#000000">P-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> FLAX</FONT></P> + C-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âBIRCHâ<BR> + T-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âSPRUCEâ<BR> + Ķ -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCEDARâ<BR> + X-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âOAKâ<BR> + K-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPINEâ<BR> + Ċ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPALMâ<BR> + F-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCHERRYâ<BR> + Č-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âWALNUTâ<BR> + Ţ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âMAPLEâ<BR> + Ă-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âASHâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCYPRESSâ<BR> + S-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âBEECHâ<BR> + Ş-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âMAHOGANYâ<BR> + M-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCOCONUTâ<BR> + N-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âEUCALYPTUSâ<BR> + Ņ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âMAGNOLIAâ<BR> + Ĺ -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âREDWOODâ<BR> + H-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âLARCHâ<BR> + L-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âELMâ<BR> + Ļ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âFIGâ<BR> + R-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âBANANAâ<BR> + Ŗ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âYEWâ<BR> + PS-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âALMONDâ<BR> + PŞ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCHESTNUTâ<BR> + PĹ -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âALDERâ<BR> + KS-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âOLIVEâ<BR> + KŞ-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPOPLARâ<BR> + TL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPINEAPPLEâ<BR> + KĹ -T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âAPPLEâ<BR> + PL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âORANGEâ<BR> + KL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âLEMONâ<BR> + FL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âLIMEâ<BR> + ŢL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPEARâ<BR> + XL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPLUMâ<BR> + SL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âPEACHâ<BR> + ŞL-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âTANGERINEâ<BR> + Q-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCOFFEEâ<BR> + <FONT color="#000000">Ĺ P-T<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> FLAX</FONT></P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"> Q-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> INSECT</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"> Q-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âINSECTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4883,38 +4883,38 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>3. female as derived resource or processed product</P></TD> </TR> </TBODY></TABLE> - <P>MAT Suffix V0k used to indicate life stage: larvae/grub, chrysalis, cocoon, adult, etc.<BR> - SSD Suffix = -V1t used as follows: 1) egg, 2) wing, 3) oil/secretion, 4) silk/web, 5) skin/pellicle, 6) tail, 7) horn, 8) leg(s) 9) [open]<BR> + <P>MAT Suffix âV0k used to indicate life stage: larvae/grub, chrysalis, cocoon, adult, etc.<BR> + SSD Suffix = -V1tâ used as follows: 1) egg, 2) wing, 3) oil/secretion, 4) silk/web, 5) skin/pellicle, 6) tail, 7) horn, 8) leg(s) 9) [open]<BR> THE ABOVE PATTERN IS APPLIED TO THE FOLLOWING ROOTS:<BR> - T-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BUMBLEBEE<BR> - ST-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> HONEYBEE<BR> - SL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ANT<BR> - ŞL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> COCKROACH<BR> - SX-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BUTTERFLY<BR> - X-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MOTH<BR> - ŞT-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> HOUSEFLY<BR> - SK-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> WASP<BR> - ŞK-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> HORNET<BR> - SŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GNAT<BR> - K-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MOSQUITO<BR> - ŞŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> APHID<BR> - SF-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> FIREFLY<BR> - Ţ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> FLEA<BR> - L-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BEETLE<BR> - QŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SPIDER<BR> - F-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TICK<BR> - Ş-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TERMITE<BR> - ŞF-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> WATERBUG<BR> - SP-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GRASSHOPPER<BR> - P-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LOCUST<BR> - ŞX-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DRAGONFLY<BR> - KŞ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> MANTIS<BR> - PŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BLẠ- GENERIC CRAWLING BUG<BR> - KŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GLẠ- GENERIC FLYING BUG</P> + Ĺ T-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBUMBLEBEEâ<BR> + ST-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âHONEYBEEâ<BR> + SL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âANTâ<BR> + ŞL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCOCKROACHâ<BR> + SX-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBUTTERFLYâ<BR> + Ĺ X-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMOTHâ<BR> + ŞT-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âHOUSEFLYâ<BR> + SK-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âWASPâ<BR> + ŞK-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âHORNETâ<BR> + SŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGNATâ<BR> + Ĺ K-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMOSQUITOâ<BR> + ŞŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âAPHIDâ<BR> + SF-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âFIREFLYâ<BR> + Ĺ Ţ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âFLEAâ<BR> + Ĺ L-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBEETLEâ<BR> + QŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSPIDERâ<BR> + Ĺ F-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTICKâ<BR> + Ş-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTERMITEâ<BR> + ŞF-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âWATERBUGâ<BR> + SP-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGRASSHOPPERâ<BR> + Ĺ P-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLOCUSTâ<BR> + ŞX-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDRAGONFLYâ<BR> + KŞ-P<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âMANTISâ<BR> + PŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BLẠ- âGENERIC CRAWLING BUGâ<BR> + KŢ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GLẠ- âGENERIC FLYING BUGâ</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">SK-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GENERIC MAMMAL/AVIAN/REPTILE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">SK-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGENERIC MAMMAL/AVIAN/REPTILEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -4955,99 +4955,99 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>3. female as derived resource or processed product</P></TD> </TR> </TBODY></TABLE> - <P>MAT Suffix V0k used to indicate life stage: e.g., foal, fawn, yearling, adult, etc.<BR> - SSD Suffix = -V1t used as follows: 1) egg, 2) milk, 3) oil/secretion/venom, 4) fat, 5) skin/hide, 6) tail, 7) tusk/horn, 8) fur/feathers 9) flesh/meat<BR> + <P>MAT Suffix âV0k used to indicate life stage: e.g., foal, fawn, yearling, adult, etc.<BR> + SSD Suffix = -V1tâ used as follows: 1) egg, 2) milk, 3) oil/secretion/venom, 4) fat, 5) skin/hide, 6) tail, 7) tusk/horn, 8) fur/feathers 9) flesh/meat<BR> THE ABOVE PATTERN IS APPLIED TO THE FOLLOWING ROOTS:<BR> - P-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> HORSE<BR> - T-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> COW<BR> - Ķ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PIG<BR> - C-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SHEEP<BR> - F-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GOAT<BR> - Ċ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DEER<BR> - K-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BISON/BUFFALO<BR> - M-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CHICKEN<BR> - -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DUCK<BR> - PL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GOOSE<BR> - Ş-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SWAN<BR> - Q-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TURKEY<BR> - Ţ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> OSTRICH<BR> - Ç-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DOLPHIN<BR> - Č-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MULE<BR> - X-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DONKEY<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ZEBRA<BR> - XL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LION<BR> - L-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TIGER<BR> - R-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BEAR<BR> - S-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ELK<BR> - Ņ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MOOSE<BR> - Ļ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BOAR<BR> - PS-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> YAK<BR> - KS-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CAMEL<BR> - PŞ -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> WALRUS<BR> - Ŗ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ELEPHANT<BR> - P-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GIRAFFE<BR> - N-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CAT<BR> - H-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> DOG<BR> - K-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> RABBIT<BR> - TL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CHIMPANZEE<BR> - KŞ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GORILLA<BR> - ŢL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LEMUR<BR> - KL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ORANGUTAN<BR> - FL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> OTTER<BR> - SL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> WHALE<BR> - L-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SEAL<BR> - ŞX-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SEA LION<BR> - PŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ANTELOPE<BR> - ŞL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GAZELLE<BR> - KŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BABOON<BR> - QŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> FOX<BR> - SP-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> WOLF<BR> - ST-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> COYOTE<BR> - P-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SKUNK<BR> - SF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PORCUPINE<BR> - ŞP-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> POSSUM<BR> - ŞT-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> KANGAROO<BR> - SŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MOUSE<BR> - SX-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> RAT<BR> - SF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LEOPARD<BR> - K-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CHEETAH<BR> - X-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PANTHER<BR> - F-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> JAGUAR<BR> - ŞF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MOLE<BR> - ŞK-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SQUIRREL<BR> - ŞŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> VOLE<BR> - T-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CHIPMUNK<BR> - Ţ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SHREW<BR> - P-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ROBIN<BR> - T-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LARK<BR> - F-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SPARROW<BR> - Ţ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> OWL<BR> - Ç-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PIGEON<BR> - Č-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> EAGLE<BR> - Ċ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GULL<BR> - Ķ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ALBATROSS<BR> - C-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> HAWK<BR> - Q-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> VULTURE<BR> - K-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PHEASANT<BR> - S-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> NIGHTINGALE<BR> - R-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SNAKE<BR> - TL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> VIPER<BR> - KS-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> COBRA<BR> - PS-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> RATTLESNAKE<BR> - SX-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PYTHON<BR> - SF-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ASP<BR> - SK-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> ALLIGATOR<BR> - ST-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CROCODILE<BR> - PL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LIZARD<BR> - KŞ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GILA MONSTER<BR> - PŞ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> IGUANA<BR> - K-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> FROG<BR> - P-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TOAD<BR> - KL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TURTLE</P> + P-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âHORSEâ<BR> + T-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCOWâ<BR> + Ķ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPIGâ<BR> + C-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSHEEPâ<BR> + F-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGOATâ<BR> + Ċ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDEERâ<BR> + K-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBISON/BUFFALOâ<BR> + M-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCHICKENâ<BR> + Ĺ -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDUCKâ<BR> + PL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGOOSEâ<BR> + Ş-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSWANâ<BR> + Q-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTURKEYâ<BR> + Ţ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âOSTRICHâ<BR> + Ă-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDOLPHINâ<BR> + Č-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMULEâ<BR> + X-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDONKEYâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âZEBRAâ<BR> + XL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLIONâ<BR> + L-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTIGERâ<BR> + R-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBEARâ<BR> + S-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âELKâ<BR> + Ņ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMOOSEâ<BR> + Ļ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBOARâ<BR> + PS-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âYAKâ<BR> + KS-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCAMELâ<BR> + PŞ -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âWALRUSâ<BR> + Ŗ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âELEPHANTâ<BR> + PĹ -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGIRAFFEâ<BR> + N-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCATâ<BR> + H-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âDOGâ<BR> + KĹ -K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âRABBITâ<BR> + TL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCHIMPANZEEâ<BR> + KŞ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGORILLAâ<BR> + ŢL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLEMURâ<BR> + KL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âORANGUTANâ<BR> + FL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âOTTERâ<BR> + SL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âWHALEâ<BR> + Ĺ L-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSEALâ<BR> + ŞX-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSEA LIONâ<BR> + PŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âANTELOPEâ<BR> + ŞL-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGAZELLEâ<BR> + KŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBABOONâ<BR> + QŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âFOXâ<BR> + SP-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âWOLFâ<BR> + ST-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCOYOTEâ<BR> + Ĺ P-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSKUNKâ<BR> + SF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPORCUPINEâ<BR> + ŞP-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPOSSUMâ<BR> + ŞT-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âKANGAROOâ<BR> + SŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMOUSEâ<BR> + SX-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âRATâ<BR> + SF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLEOPARDâ<BR> + Ĺ K-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCHEETAHâ<BR> + Ĺ X-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPANTHERâ<BR> + Ĺ F-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âJAGUARâ<BR> + ŞF-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMOLEâ<BR> + ŞK-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSQUIRRELâ<BR> + ŞŢ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âVOLEâ<BR> + Ĺ T-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCHIPMUNKâ<BR> + Ĺ Ţ-K<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSHREWâ<BR> + P-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âROBINâ<BR> + T-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLARKâ<BR> + F-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSPARROWâ<BR> + Ţ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âOWLâ<BR> + Ă-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPIGEONâ<BR> + Č-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âEAGLEâ<BR> + Ċ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGULLâ<BR> + Ķ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âALBATROSSâ<BR> + C-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âHAWKâ<BR> + Q-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âVULTUREâ<BR> + K-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPHEASANTâ<BR> + S-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âNIGHTINGALEâ<BR> + R-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSNAKEâ<BR> + TL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âVIPERâ<BR> + KS-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCOBRAâ<BR> + PS-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âRATTLESNAKEâ<BR> + SX-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPYTHONâ<BR> + SF-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âASPâ<BR> + SK-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âALLIGATORâ<BR> + ST-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCROCODILEâ<BR> + PL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLIZARDâ<BR> + KŞ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGILA MONSTERâ<BR> + PŞ-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âIGUANAâ<BR> + KĹ -Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âFROGâ<BR> + PĹ -Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTOADâ<BR> + KL-Q<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTURTLEâ</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> GENERIC WATERLIFE </P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âGENERIC WATERLIFE â</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5088,115 +5088,115 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="185" valign="top"><P>3. female as derived resource or processed product</P></TD> </TR> </TBODY></TABLE> - <P>SSD Suffix = -V1t used as follows: 1) egg, 2) meat, 3) skin/shell, 4) fluid/ink, 5) smoked meat, 6) as bait, 7) as fodder, 8) as ingredient in food or as fishmeal 9) cooked meat<BR> + <P>SSD Suffix = -V1tâ used as follows: 1) egg, 2) meat, 3) skin/shell, 4) fluid/ink, 5) smoked meat, 6) as bait, 7) as fodder, 8) as ingredient in food or as fishmeal 9) cooked meat<BR> THE ABOVE PATTERN IS APPLIED TO THE FOLLOWING ROOTS:<BR> - N-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> OCTOPUS<BR> - X-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SQUID<BR> - R-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> EEL<BR> - Ş-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LAMPREY<BR> - Ņ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> RAY<BR> - K-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SHARK<BR> - XL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CLAM<BR> - FL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SCALLOP<BR> - PL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> MUSSEL<BR> - ŢL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> CRAB<BR> - TL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> SHRIMP/PRAWN<BR> - KL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> LOBSTER<BR> - <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TROUT<BR> - H-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> TUNA<BR> - Ļ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> COD<BR> - Ç-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> BASS<BR> - C-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> PIKE</P> + N-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âOCTOPUSâ<BR> + X-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSQUIDâ<BR> + R-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âEELâ<BR> + Ş-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLAMPREYâ<BR> + Ņ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âRAYâ<BR> + K-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSHARKâ<BR> + XL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCLAMâ<BR> + FL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSCALLOPâ<BR> + PL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âMUSSELâ<BR> + ŢL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCRABâ<BR> + TL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âSHRIMP/PRAWNâ<BR> + KL-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âLOBSTERâ<BR> + <STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTROUTâ<BR> + H-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âTUNAâ<BR> + Ļ-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âCODâ<BR> + Ă-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âBASSâ<BR> + C-P<FONT color="#0000FF"><IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"></FONT> âPIKEâ</P> </BLOCKQUOTE> <P></P> <P><STRONG>CLASS 9 ROOTS: taxonomies of physical substances </STRONG></P> <BLOCKQUOTE> - <P><FONT color="#000000">The stem pattern of the following Class 9 roots is identical to that of the Class 6 root</FONT><FONT color="#0000FF"> <A href="ithkuil-lexicon.htm#solid">T-Ġ (QUASI-)SOLID SUBSTANCE (i.e., non-liquid & non-gaseous)</A>:<BR> - <FONT color="#000000">P-P brass<BR> - P-T chalk<BR> - P-K cloth/fabric<BR> - P-Q coal<BR> - T-P spice/herb/seasoning<BR> - T-T glass<BR> - T-K jade<BR> - T-Q metal/ore<BR> - Ķ-P mineral<BR> - Ķ-T oil (petroleum)<BR> - Ķ-K plastic<BR> - Ķ-Q quartz<BR> - K-P rubber<BR> - K-T salt<BR> - K-K steel<BR> - K-Q silk<BR> - C-P tar<BR> - C-T - wax<BR> - C-K Aluminium <BR> - C-Q Antimony<BR> - Ċ-P Arsenic <BR> - Ċ-T Beryllium <BR> - Ċ-K Bismuth <BR> - Ċ-Q Boron <BR> - Č-P Cadmium <BR> - Č-T Calcium <BR> - Č-K Carbon <BR> - Č-Q Chromium <BR> - Ç-P Cobalt <BR> - Ç-T Copper <BR> - Ç-K Gallium <BR> - Ç-Q Gold <BR> - F-P Iridium <BR> - F-T Iron<BR> - F-K Lead <BR> - F-Q Lithium <BR> - Ţ-P Magnesium <BR> - Ţ-T Manganese <BR> - Ţ-K Molybdenum <BR> - Ţ-Q Nickel <BR> - X-P Palladium <BR> - X-T Phosphorus <BR> - X-K Platinum <BR> - X-Q Plutonium <BR> - S-P Potassium <BR> - S-T Radium <BR> - S-K Rubidium <BR> - S-Q Selenium <BR> - Ş-P Silicon <BR> - Ş-T Silver <BR> - Ş-K Sulfur<BR> - Ş-Q Tin <BR> - -P Titanium <BR> - -T Uranium <BR> - -KVanadium <BR> - -Q Tungsten <BR> - M-P Zinc <BR> - M-TZirconium<BR> - </FONT></FONT>KL-P Germanium <BR> - KL-T Krypton <BR> - KL-K Osmium <BR> - <FONT color="#0000FF"><FONT color="#000000">M-K asbestos magnesium silicate <BR> - M-Q aspirin acetylsalicylic acid <BR> - N-P baking soda <BR> - N-T bicarbonate of soda <BR> - N-K graphite (carbon) <BR> - N-Q diamond <BR> - Ņ-P marble <BR> - Ņ-T emery powder <BR> - Ņ-K epsom salts <BR> - Ņ-Q fluorspar <BR> - L-P gypsum <BR> - L-T linoleum <BR> - L-K lime <BR> - L-Q magnesia <BR> - H-P milk of magnesium <BR> - H-T plaster of Paris <BR> - H-K potash <BR> - H-Q saltpeter <BR> - R-P silica <BR> - R-T sugar, table <BR> - R-K talc or talcum <BR> - R-Q washing soda <BR> - Ŗ-P zinc white <BR> - </FONT></FONT>PS-P NATURALLY OCCURRING ACTINIDE OR UNSTABLE/RADIOACTIVE HEAVY ELEMENT<BR> + <P><FONT color="#000000">The stem pattern of the following Class 9 roots is identical to that of the Class 6 root</FONT><FONT color="#0000FF"> <A href="ithkuil-lexicon.htm#solid">T-Ġ â(QUASI-)SOLID SUBSTANCE (i.e., non-liquid & non-gaseous)</A>â:<BR> + <FONT color="#000000">P-Pâ âbrassâ<BR> + P-Tâ âchalkâ<BR> + P-Kâ âcloth/fabricâ<BR> + P-Qâ âcoalâ<BR> + T-Pâ âspice/herb/seasoningâ<BR> + T-Tâ âglassâ<BR> + T-Kâ âjadeâ<BR> + T-Qâ âmetal/oreâ<BR> + Ķ-Pâ âmineralâ<BR> + Ķ-Tâ âoil (petroleum)â<BR> + Ķ-Kâ âplasticâ<BR> + Ķ-Qâ âquartzâ<BR> + K-Pâ ârubberâ<BR> + K-Tâ âsaltâ<BR> + K-Kâ âsteelâ<BR> + K-Qâ âsilkâ<BR> + C-Pâ âtarâ<BR> + C-Tâ - âwaxâ<BR> + C-Kâ Aluminium <BR> + C-Qâ Antimony<BR> + Ċ-Pâ Arsenic <BR> + Ċ-Tâ Beryllium <BR> + Ċ-Kâ Bismuth <BR> + Ċ-Qâ Boron <BR> + Č-Pâ Cadmium <BR> + Č-Tâ Calcium <BR> + Č-Kâ Carbon <BR> + Č-Qâ Chromium <BR> + Ă-Pâ Cobalt <BR> + Ă-Tâ Copper <BR> + Ă-Kâ Gallium <BR> + Ă-Qâ Gold <BR> + F-Pâ Iridium <BR> + F-Tâ Iron<BR> + F-Kâ Lead <BR> + F-Qâ Lithium <BR> + Ţ-Pâ Magnesium <BR> + Ţ-Tâ Manganese <BR> + Ţ-Kâ Molybdenum <BR> + Ţ-Qâ Nickel <BR> + X-Pâ Palladium <BR> + X-Tâ Phosphorus <BR> + X-Kâ Platinum <BR> + X-Qâ Plutonium <BR> + S-Pâ Potassium <BR> + S-Tâ Radium <BR> + S-Kâ Rubidium <BR> + S-Qâ Selenium <BR> + Ş-Pâ Silicon <BR> + Ş-Tâ Silver <BR> + Ş-Kâ Sulfur<BR> + Ş-Qâ Tin <BR> + Ĺ -Pâ Titanium <BR> + Ĺ -Tâ Uranium <BR> + Ĺ -KâVanadium <BR> + Ĺ -Qâ Tungsten <BR> + M-Pâ Zinc <BR> + M-TâZirconium<BR> + </FONT></FONT>KL-Pâ Germanium <BR> + KL-Tâ Krypton <BR> + KL-Kâ Osmium <BR> + <FONT color="#0000FF"><FONT color="#000000">M-Kâ asbestos magnesium silicate <BR> + M-Qâ aspirin acetylsalicylic acid <BR> + N-Pâ baking soda <BR> + N-Tâ bicarbonate of soda <BR> + N-Kâ graphite (carbon) <BR> + N-Qâ diamond <BR> + Ņ-Pâ marble <BR> + Ņ-Tâ emery powder <BR> + Ņ-Kâ epsom salts <BR> + Ņ-Qâ fluorspar <BR> + L-Pâ gypsum <BR> + L-Tâ linoleum <BR> + L-Kâ lime <BR> + L-Qâ magnesia <BR> + H-Pâ milk of magnesium <BR> + H-Tâ plaster of Paris <BR> + H-Kâ potash <BR> + H-Qâ saltpeter <BR> + R-Pâ silica <BR> + R-Tâ sugar, table <BR> + R-Kâ talc or talcum <BR> + R-Qâ washing soda <BR> + Ŗ-Pâ zinc white <BR> + </FONT></FONT>PS-Pâ NATURALLY OCCURRING ACTINIDE OR UNSTABLE/RADIOACTIVE HEAVY ELEMENT<BR> SSD Derivatives specify exact element: 1) Actinium 2) Thorium @@ -5207,7 +5207,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 7) Francium 8) Polonium 9) Technetium<BR> - P-P SYNTHETIC ACTINIDE ELEMENT <BR> + PĹ -Pâ SYNTHETIC ACTINIDE ELEMENT <BR> SSD Derivatives specify exact element: 1) Americium 2) Curium @@ -5217,7 +5217,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 7) Mendelevium 8) Nobelium 9) Lawrencium<BR> - PŞ-P NATURALLY OCCURRING ELEMENT FOUND ONLY IN COMPOUNDS OR MIXED ORES<BR> + PŞ-Pâ NATURALLY OCCURRING ELEMENT FOUND ONLY IN COMPOUNDS OR MIXED ORES<BR> SSD Derivatives specify exact element: 1) Barium 2) Caesium (Cesium) @@ -5228,7 +5228,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 7) Ruthenium 8) Strontium 9) Tellurium <BR> - <IMG src="assets/x-cedilla.gif" alt="x-cedilla" width="10" height="14" align="absbottom">-P RARE NATURAL ELEMENT FOUND ONLY IN COMPOUNDS OR MIXED ORES<BR> + <IMG src="assets/x-cedilla.gif" alt="x-cedilla" width="10" height="14" align="absbottom">-Pâ RARE NATURAL ELEMENT FOUND ONLY IN COMPOUNDS OR MIXED ORES<BR> SSD Derivatives specify exact element: 1) Indium 2) Scandium @@ -5239,7 +5239,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 7) 8) 9) primary source ore in which element is found<BR> - KS-T SYNTHETIC HEAVY ELEMENT<BR> + KS-Tâ SYNTHETIC HEAVY ELEMENT<BR> SSD Derivatives specify exact element: 1) Rutherfordium 2) Dubnium @@ -5249,7 +5249,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 6) Meitnerium 7) Darmstadtium 8) Roentgenium 9) trans-Roentgenium synthetic element (i.e., Ununbium, Ununtrium, etc.)<BR> - KŞ-T LANTHANIDE ELEMENT<BR> + KŞ-Tâ LANTHANIDE ELEMENT<BR> SSD Derivatives specify exact element: 1) Lanthanum 2) Cerium @@ -5260,7 +5260,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 7) Europium 8) Gadolinium 9) Terbium <BR> - K-T HEAVIER LANTHANIDE ELEMENT<BR> + KĹ -Tâ HEAVIER LANTHANIDE ELEMENT<BR> SSD Derivatives specify exact element: 1) Dysprosium 2) Holmium @@ -5271,43 +5271,43 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> 8) 9) lanthanide-based compound </P> <P> </P> - <P><FONT color="#000000">The stem pattern for the following Class 9 roots are identical to the pattern for the Class 6 root </FONT><FONT color="#0000FF"><A href="ithkuil-lexicon.htm#liquid">N-Ġ LIQUID/FLUID</A>:<BR> - <FONT color="#000000">SK-P paint<BR> - Ŗ -T oil (fatty liquid derived from plants/animals)<BR> - Ŗ -Khoney<BR> - Ŗ -Qvinegar<BR> - Ļ-P acetone <BR> - Ļ-T alcohol, grain <BR> - Ļ-K alcohol, wood <BR> - Ļ-Q ammonia<BR> - PL-P iodine <BR> - PL-T mercury <BR> - PL-K brine aqueous sodium chloride solution <BR> - PL-Q benzene <BR> - TL-P lye or soda lye sodium hydroxide <BR> - TL-T formalin aqueous formaldehyde solution <BR> - TL-K rubbing alcohol isopropyl alcohol <BR> - TL-Q methanol methyl alcohol </FONT></FONT></P> - <P> </P> - <P><FONT color="#000000">The stem pattern of the following Class 9 roots is identical to the pattern of the Class 6 root </FONT><FONT color="#0000FF"><A href="ithkuil-lexicon.htm#gas">H-Ġ GAS / FLUME</A>:<BR> - <FONT color="#000000">SL-P carbon dioxide<BR> - SL-T carbon monoxide<BR> - SL-K Chlorine <BR> - SL-Q Argon <BR> - PŢ-P Helium <BR> - PŢ-T Hydrogen <BR> - PŢ-K Fluorine <BR> - PŢ-Q Nitrogen <BR> - SP-P Oxygen <BR> - SP-T Neon <BR> - SP-K Radon <BR> - SP-Q Xenon <BR> - ST-P ozone<BR> - ST-T laughing gas <BR> - ST-K air</FONT></FONT></P> + <P><FONT color="#000000">The stem pattern for the following Class 9 roots are identical to the pattern for the Class 6 root </FONT><FONT color="#0000FF"><A href="ithkuil-lexicon.htm#liquid">N-Ġ âLIQUID/FLUID</A>â:<BR> + <FONT color="#000000">SK-Pâ âpaintâ<BR> + Ŗ -Tâ âoil (fatty liquid derived from plants/animals)â<BR> + Ŗ -Kââhoneyâ<BR> + Ŗ -Qââvinegarâ<BR> + Ļ-Pâ acetone <BR> + Ļ-Tâ alcohol, grain <BR> + Ļ-Kâ alcohol, wood <BR> + Ļ-Qâ ammonia<BR> + PL-Pâ iodine <BR> + PL-Tâ mercury <BR> + PL-Kâ brine aqueous sodium chloride solution <BR> + PL-Qâ benzene <BR> + TL-Pâ lye or soda lye sodium hydroxide <BR> + TL-Tâ formalin aqueous formaldehyde solution <BR> + TL-Kâ rubbing alcohol isopropyl alcohol <BR> + TL-Qâ methanol methyl alcohol </FONT></FONT></P> + <P> </P> + <P><FONT color="#000000">The stem pattern of the following Class 9 roots is identical to the pattern of the Class 6 root </FONT><FONT color="#0000FF"><A href="ithkuil-lexicon.htm#gas">H-Ġ âGAS / FLUME</A>â:<BR> + <FONT color="#000000">SL-Pâ âcarbon dioxideâ<BR> + SL-Tâ âcarbon monoxideâ<BR> + SL-Kâ Chlorine <BR> + SL-Qâ Argon <BR> + PŢ-Pâ Helium <BR> + PŢ-Tâ Hydrogen <BR> + PŢ-Kâ Fluorine <BR> + PŢ-Qâ Nitrogen <BR> + SP-Pâ Oxygen <BR> + SP-Tâ Neon <BR> + SP-Kâ Radon <BR> + SP-Qâ Xenon <BR> + ST-Pâ ozone<BR> + ST-Tâ laughing gas <BR> + ST-Kâ air</FONT></FONT></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ST-P STICKY/ADHESIVE MATERIAL</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">ST-Pâ âSTICKY/ADHESIVE MATERIALâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5342,7 +5342,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-C SIMILARITY/SAMENESS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-Câ âSIMILARITY/SAMENESSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5374,7 +5374,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">M-C VALUE/WORTH/PRICE/COST<BR> + <TD width="739" colspan="4" valign="top"><P align="center">M-Câ âVALUE/WORTH/PRICE/COSTâ<BR> (Often used in conjunction with various Quantifying and Modulative affixes from Sections 7.7.6 and 7.7.7 to show relative degree of value within context)</P></TD> </TR> <TR> @@ -5408,23 +5408,23 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" height="25" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-C POSSESSION / OWNERSHIP</FONT></P></TD> + <TD width="739" height="25" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Câ âPOSSESSION / OWNERSHIPâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. have/possess; possession (temporary/circumstantial and alienable e.g., a library book in ones hand)</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. have/possess/own; possession, piece of property (alienable but quasi-permanent by law/right and in ones immediate possession-, e.g., a hat I bought and am wearing)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. have/possess; possession (temporary/circumstantial and alienable â e.g., a library book in oneâs hand)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. have/possess/own; possession, piece of property (alienable but quasi-permanent by law/right and in oneâs immediate possession-, e.g., a hat I bought and am wearing)</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. have/possess; possession (circumstantial and affective + (quasi-) inalienable, either permanent or temporary e.g., a medical condition, an office at work I occupy, a seat at a cinema showing)</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. have/possess/own; possession, piece of property (alienable but quasi-permanent by law/right, not necessarily in ones immediate possession -, e.g., a hat I bought/own but am not necessarily wearing)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. have/possess; possession (circumstantial and affective + (quasi-) inalienable, either permanent or temporary â e.g., a medical condition, an office at work I occupy, a seat at a cinema showing)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. have/possess/own; possession, piece of property (alienable but quasi-permanent by law/right, not necessarily in oneâs immediate possession -, e.g., a hat I bought/own but am not necessarily wearing)</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. have/possess; possession (genetic, intrinsic and inalienable, but not considered property e.g., a sibling, a child, a limb, a memory)</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. have/possess/own; possession, piece of property (quasi-permanent and legally inalienable except through formal/legal separation process e.g., a house I own, a pet dog I registered</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. have/possess; possession (genetic, intrinsic and inalienable, but not considered property â e.g., a sibling, a child, a limb, a memory)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. have/possess/own; possession, piece of property (quasi-permanent and legally inalienable except through formal/legal separation process â e.g., a house I own, a pet dog I registered</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> @@ -5443,7 +5443,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">F-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ARCHITECTURAL COMPONENTS (ORNAMENTAL/SPECIALIZED)</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">F-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âARCHITECTURAL COMPONENTS (ORNAMENTAL/SPECIALIZED)â</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5475,7 +5475,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center">M-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CONTAIN / HOLD / CONTENTS</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center">M-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCONTAIN / HOLD / CONTENTSâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5489,7 +5489,7 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="367" colspan="2" valign="top"><P>2. contain(ment) via enclosure / surrounding conveyance + contents</P></TD> </TR> <TR> - <TD width="367" colspan="2" valign="top"><P>3. contain(ment) via imbuement / as ingredient; to carry [as integrated component or ingredient] + contents</P></TD> + <TD width="367" colspan="2" valign="top"><P>3. contain(ment) via imbuement / as ingredient; to âcarryâ [as integrated component or ingredient] + contents</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -5499,11 +5499,11 @@ FL-M back pain disorder (neuro-muscular, not spinal)</P> <TD width="194" valign="top"><P>same as above 3 stems referring to the container</P></TD> </TR> </TBODY></TABLE> - <P>The -V1t affix provides the following distinctions: 1) bottle 2) jar/pot 3) barrel/cask 4) bin 5) vat / tub / basin [distinguished via SIZ affix] 6) can/tin 7) piece of furniture 8) purse/bag/satchel/pack 9) case/trunk</P> + <P>The -V1tâ affix provides the following distinctions: 1) bottle 2) jar/pot 3) barrel/cask 4) bin 5) vat / tub / basin [distinguished via SIZ affix] 6) can/tin 7) piece of furniture 8) purse/bag/satchel/pack 9) case/trunk</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> - TEXTURE/TACTILE SENSATION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> - âTEXTURE/TACTILE SENSATIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5564,18 +5564,18 @@ KL-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="1 Ţ-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> powdery<BR> N-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> gritty (like fine sand)<BR> XL-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> grainy/granular <BR> -Ç-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> mushy <BR> +Ă-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> mushy <BR> L-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> slushy<BR> PS-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> gooey<BR> X-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> slippery<BR> Ņ-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ice-cold, numbing cold<BR> KS-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> numbing (= loss of sensation)<BR> - <IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> pins & needles sensation<BR> + <IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âpins & needlesâ sensation<BR> H-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> needle-like sharpness (e.g., a cactus)<BR> - P-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> bristly<BR> + PĹ -Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> bristly<BR> S-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> feathery<BR> PS-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> wispy/wafting<BR> - K-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> cobwebby/like cotton-candy<BR> + KĹ -Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âcobwebbyâ/like cotton-candy<BR> M-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> curvaceous/sensual (= soft/smooth/squeezable/rounded)<BR> PŞ-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> rubbery<BR> L-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> hard + semi-smooth (like wood)<BR> @@ -5594,7 +5594,7 @@ KL-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="1 <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> CONSISTENCY/MALLEABILITY/FLEXIBILITY/PLASTICITY/RHEOLOGICAL PHENOMENON</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âCONSISTENCY/MALLEABILITY/FLEXIBILITY/PLASTICITY/RHEOLOGICAL PHENOMENONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5642,19 +5642,19 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 X-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> elasticity <--> stiffness/rigidity<BR> K-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> springiness/spring <--> inertness/immobility<BR> XL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> jiggliness <--> inertness/immobility<BR> -Ç-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> limpness/flaccidity <--> stiffness/rigidity<BR> +Ă-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> limpness/flaccidity <--> stiffness/rigidity<BR> Ķ-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> buoyancy<BR> FL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> bounce/recoil <--> inertness/immobility<BR> Ţ-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> brittleness <--> resiliency<BR> --Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> flimsiness/fragility <--> resiliency/strength<BR> +Ĺ -Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> flimsiness/fragility <--> resiliency/strength<BR> KL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> flabbiness <--> cohesiveness / compactness<BR> F-Ċ<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> tendency to disintegrate/crumble/fall apart <--> coherence/cohesiveness/compositional integrity<BR> S-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> spreadability<BR> - PL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> deformability / dentability</P> + PL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> deformability / âdentabilityâ</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Q-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> GEOGRAPHICAL/GEOPOLITICAL ELEMENTS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">Q-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âGEOGRAPHICAL/GEOPOLITICAL ELEMENTSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5665,8 +5665,8 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. geopolitical feature or element</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. geographical area / land</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. geopolitical area / land or country</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. geographical area / âlandâ</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. geopolitical area / âlandâ or âcountryâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. natural piece of territory</FONT></P></TD> @@ -5686,7 +5686,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> ARCHITECTURAL COMPONENTS/FORMS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">TL-C<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âARCHITECTURAL COMPONENTS/FORMSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5697,7 +5697,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. strut/buttress</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. side/wall (external)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. âsideâ/wall (external)</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. partition</FONT></P></TD> </TR> <TR> @@ -5718,8 +5718,8 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">X- Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> MAKE/CONSTRUCT/INTEGRATE/FORM<BR> - (NOTE: This root does not refer to make/create meaning emit/secrete/produceas in make noise or make milk, etc.)</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">X- Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17"> âMAKE/CONSTRUCT/INTEGRATE/FORMâ<BR> + (NOTE: This root does not refer to âmake/createâ meaning âemit/secrete/produceâas in âmake noiseâ or âmake milkâ, etc.)</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5748,7 +5748,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems w/ focus on the result or product</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">NOTE: The above meanings represent these stems as used in conjunction with the COMPLETIVE (CPT) version. Their default PROCESSUAL (PCT) counterparts would translate as plan (to), design, etc.<BR> + <P><FONT color="#000000">NOTE: The above meanings represent these stems as used in conjunction with the COMPLETIVE (CPT) version. Their default PROCESSUAL (PCT) counterparts would translate as âplan (to)â, âdesignâ, etc.<BR> Derivations: cobble together, rig, system, conspire</FONT></P> </BLOCKQUOTE> <P> </P> @@ -5757,7 +5757,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <BLOCKQUOTE> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT size="-1"><STRONG>L</STRONG></FONT><STRONG>-</STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Qv.gif" alt="q + hacek" width="10" height="18" align="absmiddle"></STRONG></FONT></STRONG> MUSIC</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT size="-1"><STRONG>L</STRONG></FONT><STRONG>-</STRONG><STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Qv.gif" alt="q + hacek" width="10" height="18" align="absmiddle"></STRONG></FONT></STRONG> âMUSICâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5793,14 +5793,14 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000" size="-1"><STRONG>N</STRONG></FONT><FONT color="#000000"><STRONG>-<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG> GOODWILL/FRIENDLINESS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000" size="-1"><STRONG>N</STRONG></FONT><FONT color="#000000"><STRONG>-<FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/x-cedilla.gif" alt="x + cedilla" width="10" height="14" align="absbottom"></FONT></STRONG>â âGOODWILL/FRIENDLINESSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. being nice [= emotional/spiritual/physical support of anothers interests]</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. being nice [= emotional/spiritual/physical support of anotherâs interests]</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. good samaritanship, going out of the way to help</FONT></P></TD> </TR> <TR> @@ -5826,7 +5826,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-X CELEBRATORY ACT/ CEREMONIAL RITE</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Xâ âCELEBRATORY ACT/ CEREMONIAL RITEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5855,11 +5855,11 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <TD width="185" valign="top"><P><FONT color="#000000">Same as above 3 stems referring to reason, cause or motive</FONT></P></TD> </TR> </TBODY></TABLE> - <P>MORPHOLOGICAL DERIVATIVES: party, celebration, fęte, festivities, ceremony</P> + <P>MORPHOLOGICAL DERIVATIVES: party, celebration, fÄte, festivities, ceremony</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"><STRONG><FONT face="Arial, Helvetica, sans-serif">q</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Qv.gif" alt="q + hacek" width="10" height="18" align="absmiddle"></STRONG></FONT></STRONG> SALUTATION/GREETING/ACKNOWLEDGEMENT</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"><STRONG><FONT face="Arial, Helvetica, sans-serif">q</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><STRONG><IMG src="assets/Qv.gif" alt="q + hacek" width="10" height="18" align="absmiddle"></STRONG></FONT></STRONG> âSALUTATION/GREETING/ACKNOWLEDGEMENTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5892,7 +5892,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-X REPUTE/NOTORIETY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Xâ âREPUTE/NOTORIETYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -5929,7 +5929,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Č-Ř DEGREE OF FUN/MERRIMENT/JOVIALITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Č-Ř âDEGREE OF FUN/MERRIMENT/JOVIALITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5962,7 +5962,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">F-Ř HUMOR/WIT/JEST</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">F-Ř âHUMOR/WIT/JESTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -5995,7 +5995,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"><STRONG><FONT face="Arial, Helvetica, sans-serif">h</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> LOVE/AFFECTION/EMOTIONAL BOND</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000"><STRONG><FONT face="Arial, Helvetica, sans-serif">h</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âLOVE/AFFECTION/EMOTIONAL BONDâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6029,18 +6029,18 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-Ř HEART / ESSENCE / VALUES </FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">L-Ř â âHEARTâ / âESSENCEâ / VALUES â</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. metaphorical/psychological seat of ones personality and emotions, i.e., heart, soul, mind</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. metaphorical/psychological seat of oneâs personality and emotions, i.e., âheartâ, âsoulâ, mind</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. personal value(s)/ what one holds dearest or as most important</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. degree/depth of ones emotions / feelings / experience a certain depth of emotion</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. degree/depth of oneâs emotions / âfeelingsâ / experience a certain depth of emotion</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. personal virtues/ personality traits</FONT></P></TD> </TR> <TR> @@ -6062,7 +6062,7 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">P- Ğ EXPERIENCE / UNDERGO A STATE OR FEELING</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">P- Ğ âEXPERIENCE / UNDERGO A STATE OR FEELINGâ</FONT></P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6087,74 +6087,74 @@ T-Č<IMG src="assets/aspiration-h.gif" alt="aspiration" width="4" height="17 </TR> </TBODY></TABLE> <P>The stem patterns of the above root are applied to all of the following roots:<BR> - <FONT color="#000000">P-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> excitement/thrill<BR> - Č-Ğ agitation/disquietude<BR> - ST-V awe / be or feel impressed / humbleness in face of something<BR> - N-Ř depression / be or feel depressed<BR> - T-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> eagerness / fervor / zeal<BR> - -Ř cordiality/benevolence<BR> - X-Ğ hysteria/loss of control<BR> - SX-V commitment/loyalty Derivations: intransigence, stubbornness<BR> - P-Ř tenderness/nuturing/caring<BR> - Ķ-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feel hurt/offended<BR> - Ķ-Ř spite<BR> - K-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> stoicism/repression<BR> - Ş-Ğ nonchalance/indifference Derivations: callousness<BR> - Ţ-Ř torpor/lethargy Derivations: stupor, catatonia<BR> - R-Ğ numbness / emotional saturation<BR> - Q-V wonder/enthrallment<BR> - C-V inspiration / feeling of positive energy<BR> - M-V fear/fright <FONT color="#0000FF">Derivation: panic</FONT><BR> - H-V uplift/inspiration (e.g., by beauty, art, music, etc.)<BR> - FL-Ğ jollity/merriment/gayness<BR> - M-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling carefree / frivolity / relaxed<BR> - X-Ř stress / feel pressured<BR> - KŢ-Ř worry / feel preoccupied<BR> - K-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> grief / sadness from loss<BR> - KS-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> angst / weltschmertz<BR> - </FONT>P-V regret, repining, ruefulness<BR> - T-Ř woe, despair, desolation<BR> - SL-V sorrow, lamentation<BR> - Q-Ř wistfulness, bittersweetness<BR> - X-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> bittersweet longing (Portuguese saudade)<BR> - T-V anticipate (something positive); feeling of anticipation (for something positive)<FONT color="#000000"><BR> - QŢ-V feeling of surprise, revelation and self-growth upon discovering that achievement of long-awaited vengeance or vindication is hollow and meaningless due to personal maturation or present irrelevance of original circumstances<BR> - XL-V mix of humor and shame felt upon pulling joke on someone or at their expense but the target doesnt get it or remains ignorant of the joke</FONT><BR> + <FONT color="#000000">P-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âexcitement/thrillâ<BR> + Č-Ğ âagitation/disquietudeâ<BR> + ST-V âawe / be or feel impressed / humbleness in face of somethingâ<BR> + N-Ř âdepression / be or feel depressedâ<BR> + T-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âeagerness / fervor / zealâ<BR> + Ĺ -Ř âcordiality/benevolenceâ<BR> + X-Ğ âhysteria/loss of controlâ<BR> + SX-V âcommitment/loyaltyâ Derivations: âintransigenceâ, âstubbornnessâ<BR> + PĹ -Ř âtenderness/nuturing/caringâ<BR> + Ķ-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âfeel hurt/offendedâ<BR> + Ķ-Ř âspiteâ<BR> + K-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âstoicism/repressionâ<BR> + Ş-Ğ ânonchalance/indifferenceâ Derivations: âcallousnessâ<BR> + Ţ-Ř âtorpor/lethargyâ Derivations: âstuporâ, âcatatoniaâ<BR> + R-Ğ ânumbness / emotional saturationâ<BR> + Q-V âwonder/enthrallmentâ<BR> + C-V âinspiration / feeling of positive energyâ<BR> + M-V âfear/frightâ <FONT color="#0000FF">Derivation: panic</FONT><BR> + H-V âuplift/inspiration (e.g., by beauty, art, music, etc.)<BR> + FL-Ğ âjollity/merriment/gaynessâ<BR> + M-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âfeeling carefree / frivolity / relaxedâ<BR> + Ĺ X-Ř âstress / feel pressuredâ<BR> + KŢ-Ř âworry / feel preoccupiedâ<BR> + Ĺ K-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âgrief / sadness from lossâ<BR> + KS-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âangst / weltschmertzâ<BR> + </FONT>P-V âregret, repining, ruefulnessâ<BR> + T-Ř âwoe, despair, desolationâ<BR> + SL-V âsorrow, lamentationâ<BR> + Q-Ř âwistfulness, bittersweetnessâ<BR> + X-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âbittersweet longingâ (Portuguese âsaudadeâ)<BR> + T-V âanticipate (something positive); feeling of anticipation (for something positive)â<FONT color="#000000"><BR> + QŢ-V âfeeling of surprise, revelation and self-growth upon discovering that achievement of long-awaited vengeance or vindication is hollow and meaningless due to personal maturation or present irrelevance of original circumstancesâ<BR> + XL-V âmix of humor and shame felt upon pulling joke on someone or at their expense but the target doesnât âget itâ or remains ignorant of the jokeâ</FONT><BR> K-V serenity, peace of mind<BR> - T-Ğ schadenfreude; malicious glee at anothers (implicitly deserved) discomfort or inconvenience<BR> + T-Ğ schadenfreude; malicious glee at anotherâs (implicitly deserved) discomfort or inconvenience<BR> KL-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> impatience due to feeling that time/resources being wasted<BR> Ņ-Ř bother, annoyance (based on displeasure at or disagreement with external circumstances)<BR> -Ķ-V bother, annoyance at self due to ones own actions/behavior<BR> +Ķ-V bother, annoyance at self due to oneâs own actions/behavior<BR> K-Ğ feeling of disappointment at being letdown by another<BR> - TL-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling of disappointment/let-down at ones own actions/behavior<BR> + TL-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling of disappointment/let-down at oneâs own actions/behavior<BR> Ċ -Ř anticipate a negative; dread<BR> -Ċ-V feeling of emotional maturity/superiority; feeling above it all<BR> -Ķ -Ğ feeling of surprise, revelation and self-growth upon discovering that one can get past, and need not succumb to, feelings of defensiveness or victimhood upon being criticized, maligned, slandered, or disrespected<BR> +Ċ-V feeling of emotional maturity/superiority; feeling âabove it allâ<BR> +Ķ -Ğ feeling of surprise, revelation and self-growth upon discovering that one can get past, and need not succumb to, feelings of defensiveness or âvictimhoodâ upon being criticized, maligned, slandered, or disrespected<BR> Č-V achievement of zen-like enlightenment through meditation<BR> Q-Ğ meditative bliss<BR> -Ņ-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> post-orgasmic/post-coital bliss; afterglow<BR> -C-Ř feeling of being on edge; at cusp of loss-of-control or loss of ones actions/inhibitions<BR> +Ņ-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> post-orgasmic/post-coital bliss; âafterglowâ<BR> +C-Ř feeling of being âon edgeâ; at cusp of loss-of-control or loss of oneâs actions/inhibitions<BR> F-V being ultra-alert with senses heightened<BR> M-Ğ ecstatic/euphoric feeling of joie-de-vivre<BR> - L-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling of inherent connection to or oneness with the universe through space and time<BR> -Ç-Ř feeling of puzzlement and curiosity, a desire to solve a mystery<BR> + L-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling of inherent âconnectionâ to or oneness with the universe through space and time<BR> +Ă-Ř feeling of puzzlement and curiosity, a desire to solve a mystery<BR> Ţ-V feeling of piquancy, stimulated curiosity, a desire for a new experience<BR> -N-Ğ feeling of devilishness and spontaneous non-conformity<BR> +N-Ğ feeling of âdevilishnessâ and spontaneous non-conformity<BR> Ş-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> feeling flustered at not knowing how to react or what to think<BR> -M-Ř embarrassment due to social faux pas, behavioral misstep, or others seeing through ones façade or airs<BR> -Ç-V embarrassment at being unable to perform a task or activity as expected<BR> +M-Ř embarrassment due to social faux pas, behavioral misstep, or others seeing through oneâs façade or airs<BR> +Ă-V embarrassment at being unable to perform a task or activity as expected<BR> L-Ğ humiliation<BR> - N-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> poignancy, aaaaw reaction to irresistable cuteness<BR> - R-Ř material lust, avarice, greed (for sexual lust see root H-Z Ŭ-)<BR> + N-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> poignancy, âaaaawâ reaction to irresistable cuteness<BR> + R-Ř material lust, avarice, greed (for sexual lust see root H-Z Ĺ Ŭ-)<BR> S-V shock, reeling (e.g., from bad news or an unexpected discovery)<BR> Ņ-Ğ swooning, feeling of faintness due to emotional overload<BR> S-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> repugnance, repellant feeling, disgust<BR> H-Ř discomfiture at having been socially snubbed or at being ill-prepared for a situation after believing that one was accepted or was well-prepared<BR> --<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> solace, comfort in the face of sadness/grief</P> +Ĺ -<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> solace, comfort in the face of sadness/grief</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ř AFFECTIVE/NON-VOLITIONAL MENTAL STATE/PROCESS</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ř âAFFECTIVE/NON-VOLITIONAL MENTAL STATE/PROCESSâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6183,11 +6183,11 @@ L-Ğ humiliation<BR> <TD width="185" valign="top"><P><FONT color="#000000">same as above 3 stems referring to content thereof</FONT></P></TD> </TR> </TBODY></TABLE> - <P>SSD Derivatives for Stem 3: 1) high, under-the-influence of a psycho-active substance 2) hallucination; hallucinate, (observe) apparition 3) trance 4) instance of telepathy 5) (experience) premonition/vision 6) synaesthetic experience 7) sensory illusion 8) out-of-body experience 9) state of prescience/clairvoyance</P> + <P>SSD Derivatives for Stem 3: 1) âhighâ, under-the-influence of a psycho-active substance 2) hallucination; hallucinate, (observe) apparition 3) trance 4) instance of telepathy 5) (experience) premonition/vision 6) synaesthetic experience 7) sensory illusion 8) out-of-body experience 9) state of prescience/clairvoyance</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Q-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> DEGREE OF PLEASURE/FULFILLMENT/SATISFACTION/HAPPINESS</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Q-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/d-cedilla.gif" alt="d + cedilla" width="12" height="17" align="absbottom"></FONT></STRONG> âDEGREE OF PLEASURE/FULFILLMENT/SATISFACTION/HAPPINESSâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6212,16 +6212,16 @@ L-Ğ humiliation<BR> </TR> <TR> <TD width="185" valign="top"><P>Same as above 3 stems referring to the affective state/feeling/experience itself</P></TD> - <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., a pleasant visit or a satisfying meal</P></TD> + <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., âa pleasant visitâ or âa satisfying mealâ</P></TD> <TD width="185" valign="top"><P>Same as above 3 stems referring to the affective state/feeling/experience itself</P></TD> - <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., a happy home or a fulfilling job</P></TD> + <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., âa happy homeâ or âa fulfilling jobâ</P></TD> </TR> </TBODY></TABLE> <P>Derivations: gratify/gratification, satiety, ecstasy, joy</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">S-Ř PRIDE/EGO/RESPECT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">S-Ř âPRIDE/EGO/RESPECTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6236,8 +6236,8 @@ L-Ğ humiliation<BR> <TD width="370" colspan="2" valign="top"><P>2. respect/admiration</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. ones feelings/sensibilities (e.g., to hurt ones feelings)</P></TD> - <TD width="370" colspan="2" valign="top"><P>3. ego/sense of self-identity; to sense (some)ones ego / to gain an impression of someones self-identity</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. oneâs feelings/sensibilities (e.g., to hurt oneâs feelings)</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. ego/sense of self-identity; to sense (some)oneâs ego / to gain an impression of someoneâs self-identity</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -6254,7 +6254,7 @@ L-Ğ humiliation<BR> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-V DEGREE OF PAIN/LOSS/DISSATISFACTION/MISERY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-V âDEGREE OF PAIN/LOSS/DISSATISFACTION/MISERYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6279,9 +6279,9 @@ L-Ğ humiliation<BR> </TR> <TR> <TD width="185" valign="top"><P>Same as above 3 stems referring to the affective state/feeling/experience itself</P></TD> - <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., an unpleasant visit or a terrible meal</P></TD> + <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., âan unpleasant visitâ or âa terrible mealâ</P></TD> <TD width="185" valign="top"><P>Same as above 3 stems referring to the affective state/feeling/experience itself</P></TD> - <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., an unhappy home or a miserable job</P></TD> + <TD width="185" valign="top"><P>Same as above 3 stems referring to the cause or causal context, e.g., âan unhappy homeâ or âa miserable jobâ</P></TD> </TR> </TBODY></TABLE> <P> </P> @@ -6291,7 +6291,7 @@ L-Ğ humiliation<BR> <BLOCKQUOTE> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">F-Z ATTRACTION</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">F-Z âATTRACTION</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6306,8 +6306,8 @@ L-Ğ humiliation<BR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. be attractive/seductive (emotional-philosophical attraction to inanimate thing, idea or abstraction, e.g., a political platform, buying a certain car, etc.)</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. act/gesture indicating or hinting of attraction to; (give) clue/hint (physical attraction to other person)</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. selling point / a pro (vs. con)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. act/gesture indicating or hinting of attraction to; â(give) clue/hintâ (physical attraction to other person)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. âselling pointâ / a âproâ (vs. âconâ)</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> @@ -6324,7 +6324,7 @@ L-Ğ humiliation<BR> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Z ROMANTIC AND/OR SEXUAL RELATIONSHIP</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">H-Z âROMANTIC AND/OR SEXUAL RELATIONSHIPâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6369,7 +6369,7 @@ L-Ğ humiliation<BR> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">H- CONFLICT-BASED HOSTILITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">H-Ĺ˝ âCONFLICT-BASED HOSTILITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6414,7 +6414,7 @@ L-Ğ humiliation<BR> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">K-Z TRANSFER OF POSSESSION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">K-Z âTRANSFER OF POSSESSIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6459,7 +6459,7 @@ L-Ğ humiliation<BR> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">L-Z MANAGE/GUIDANCE/COMPLIANCE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">L-Z âMANAGE/GUIDANCE/COMPLIANCEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6500,11 +6500,11 @@ L-Ğ humiliation<BR> <TD width="185" valign="top"><P>3. personal rectitude</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: guidance, management, morality, law, president, ruler; set of rules, steer, administer, order, drive; oversee, custom, norm, authority</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: guidance, management, morality, law, president, ruler; set of rules, steer, administer, order, drive; oversee, custom, ânormâ, authority</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">N-Z - SOCIAL INTERRELATION/INTERACTION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">N-Z - âSOCIAL INTERRELATION/INTERACTIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6515,12 +6515,12 @@ L-Ğ humiliation<BR> <TD width="370" colspan="2" valign="top"><P>1. expected/natural role of member of a relationship + benefits, consequences, or implications thereof</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. act/state of dominant or initiating partner in social interaction/relationship</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. expected/natural role of dominant or initiating partner of a relationship + benefits, consequences, or implications thereof</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. act/state of âdominantâ or initiating partner in social interaction/relationship</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. expected/natural role of âdominantâ or initiating partner of a relationship + benefits, consequences, or implications thereof</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. act/state of passive or secondary/complementary partner in social interaction/relationship</P></TD> - <TD width="370" colspan="2" valign="top"><P>3. expected/natural role of passive or secondary or complementary partner of a relationship + benefits, consequences, or implications thereof</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. act/state of âpassiveâ or secondary/complementary partner in social interaction/relationship</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. expected/natural role of âpassiveâ or secondary or complementary partner of a relationship + benefits, consequences, or implications thereof</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -6533,67 +6533,67 @@ L-Ğ humiliation<BR> <TD width="185" valign="top"><P>Same as above 3 stems w/ focus on benefits, consequences, or implications of act/state of social interaction or interrelation </P></TD> </TR> </TBODY></TABLE> - <P>Note: The above root (and those immediately below) are likely to be used in conjunction with the various Valence categories (see Section XXX) to specify the exact nature of the relationship between the parties involved. Note also that, for relationships where the parties are acting in equivalent roles or positions of equal stature (i.e., no dominant vs. passive roles), use of Stems 2 and 3 above would be inapplicable.</P> + <P>Note: The above root (and those immediately below) are likely to be used in conjunction with the various Valence categories (see Section XXX) to specify the exact nature of the relationship between the parties involved. Note also that, for relationships where the parties are acting in equivalent roles or positions of equal stature (i.e., no âdominantâ vs. âpassiveâ roles), use of Stems 2 and 3 above would be inapplicable.</P> <P>THE STEMS OF THE FOLLOWING ROOTS DESCRIBING SPECIFIC TYPES OF RELATIONSHIPS ARE STRUCTURED IDENTICALLY WITH THE ROOT ABOVE:<BR> -Ķ- close loving friendship<BR> +Ķ-Ĺ˝ close loving friendship<BR> <IMG src="assets/x-cedilla.gif" alt="x-cedilla" width="10" height="14" align="absbottom">-Z business partnership<BR> - K- marriage<BR> + K-Ĺ˝ marriage<BR> M-Z, temporary or youthful romantic dalliance/lovers (with or without involving sex)<BR> - F- sexual partners<BR> + F-Ĺ˝ sexual partners<BR> N-Z, club members<BR> -Ţ- fellow hobbyists or enthusiasts<BR> +Ţ-Ĺ˝ fellow hobbyists or enthusiasts<BR> L-Z, fan + celebrity<BR> -Ç- sage + disciples<BR> -Ņ -Z center of attention + sycophants<BR> -X- master/servant<BR> +Ă-Ĺ˝ sage + disciples<BR> +Ņ -Z âcenter of attentionâ + sycophants<BR> +X-Ĺ˝ master/servant<BR> Ķ-Z sibling relations<BR> -X,- fellowship, band of brothers, fraternity, sorority, etc.<BR> +X,-Ĺ˝ fellowship, âband of brothersâ, fraternity, sorority, etc.<BR> Ţ-Z members of secret society<BR> -S- members of stigmatized/isolated/oppressed societal group<BR> -Ç-Z owner + pet<BR> -M- co-workers/associates<BR> +S-Ĺ˝ members of stigmatized/isolated/oppressed societal group<BR> +Ă-Z owner + pet<BR> +M-Ĺ˝ co-workers/associates<BR> PL-Z co-authors/creators of joint opus or artistic work<BR> -L- autocrat or autarch + subjects<BR> +L-Ĺ˝ autocrat or autarch + subjects<BR> TL-Z official/agent of authority + supplicant/petitioner/applicant<BR> -Ņ- interviewer/interrogator + interviewee<BR> +Ņ-Ĺ˝ interviewer/interrogator + interviewee<BR> KL-Z seller + buyer<BR> -PL- members of same religion or belief system<BR> +PL-Ĺ˝ members of same religion or belief system<BR> FL-Z members of holy order or spiritual fellowship<BR> -TL- members of business/executive management<BR> +TL-Ĺ˝ members of business/executive management<BR> ŢL-Z strangers brought together by circumstances of the moment<BR> -KL- romantic love relationship<BR> +KL-Ĺ˝ romantic love relationship<BR> XL-Z parent-child relationship<BR> -FL- relationship between business associates<BR> +FL-Ĺ˝ relationship between business associates<BR> Ŗ-Z supervisor/boss + employee<BR> -ŢL- partners or team members in sporting match or sporting activity<BR> +ŢL-Ĺ˝ partners or team members in sporting match or sporting activity<BR> Ļ-Z adversaries or opposing team members in sporting match or sporting activity<BR> -XL- socially adversarial based on social one-upmanship/ego gratification<BR> +XL-Ĺ˝ socially adversarial based on social one-upmanship/ego gratification<BR> <IMG src="assets/x-cedilla.gif" alt="x-cedilla" width="10" height="14" align="absbottom">-Z, socially adversarial based on enmity/hatred<BR> - PŢ- relationship based on compulsion/threat<BR> + PŢ-Ĺ˝ relationship based on compulsion/threat<BR> X-Z, adversarial based on a feud<BR> - KŢ - adversarial based on jealousy/coveting of ones situation<BR> -Ç-Z, adversarial based on material envy/coveting of ones possessions<BR> -QŢ - enmity based on revenge<BR> + KŢ -Ĺ˝ adversarial based on jealousy/coveting of oneâs situation<BR> +Ă-Z, adversarial based on material envy/coveting of oneâs possessions<BR> +QŢ -Ĺ˝ enmity based on revenge<BR> Ţ-Z, adversarial based on anger/resentment<BR> -SL- allies<BR> +SL-Ĺ˝ allies<BR> F-Z, predator + prey<BR> -SP- invader + invadee<BR> +SP-Ĺ˝ invader + invadee<BR> Q-Z, co-participants in general activity<BR> -ST- matchmaker + parties being matched<BR> -Ņ-Z member of couple being matched or set up with each other<BR> -SK- lender + borrower<BR> +ST-Ĺ˝ matchmaker + parties being matched<BR> +Ņ-Z member of couple being matched or âset upâ with each other<BR> +SK-Ĺ˝ lender + borrower<BR> Ķ-Z, perpetrator + victim<BR> -SF- traders/barterers<BR> +SF-Ĺ˝ traders/barterers<BR> K-Z, lessor + lessee<BR> -SŢ- creditor + debtor<BR> +SŢ-Ĺ˝ creditor + debtor<BR> T-Z, advisor + party seeking advise<BR> -SX- warring parties<BR> +SX-Ĺ˝ warring parties<BR> P-Z, entertainer/emcee + audience<BR> -R- speaker/speechmaker/presenter + audience</P> +R-Ĺ˝ speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N- MARITAL/SPOUSAL RELATIONSHIP</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">N-Ĺ˝ âMARITAL/SPOUSAL RELATIONSHIPâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -6609,7 +6609,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. betrothal / engagement; be betrothed, be engaged</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. fiancé(e) / being a fiancé(e)</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. fiancĂŠ(e) / being a fiancĂŠ(e)</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000"></FONT></P></TD> @@ -6630,8 +6630,8 @@ R- speaker/speechmaker/presenter + audience</P> <TR> <TD width="185" valign="top"><P><FONT color="#000000">3. formal/legal status of being betrothed/engaged</FONT></P></TD> <TD width="185" valign="top"><P><FONT color="#000000">3. emotional bond of love/fealty underlying betrothal/engagement</FONT></P></TD> - <TD width="185" valign="top"><P><FONT color="#000000">3. fiancé</FONT></P></TD> - <TD width="185" valign="top"><P><FONT color="#000000">3. fiancée</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">3. fiancĂŠ</FONT></P></TD> + <TD width="185" valign="top"><P><FONT color="#000000">3. fiancĂŠe</FONT></P></TD> </TR> </TBODY></TABLE> <P> </P> @@ -6639,7 +6639,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-Z EXCHANGE/PURCHASE <BR> + <TD width="739" colspan="4" valign="top"><P align="center">P-Z âEXCHANGE/PURCHASEâ <BR> Note: The stems below are generally used in conjunction with PROCESSUAL versus COMPLETIVE version (See Secs. 5.3.1 and 5.3.2) in order to distinguish an offer of exchange from a completed exchange. Alternately, the distinction between MONOACTIVE and COMPLEMENTARY valence (Sec. 5.2) can be used for the same purpose.</P></TD> </TR> <TR> @@ -6678,14 +6678,14 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>3. change out / supplant / replace (focus on entity newly placed)</P></TD> <TD width="185" valign="top"><P>3. change out / supplant / replace (focus on entity taken out of action)</P></TD> <TD width="185" valign="top"><P>3. acquire via investment; act of acquisition via investment</P></TD> - <TD width="185" valign="top"><P>3. release interest in / sell ones investment</P></TD> + <TD width="185" valign="top"><P>3. release interest in / sell oneâs investment</P></TD> </TR> </TBODY></TABLE> <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: commercial venture, a purchase, acquisition via trade, acquisition via investment; purvey, goods, thing sold, market, warehouse, buyer, seller, agent, business</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P- - MASTERY/AUTHORITY/SERVITUDE/OBEDIENCE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-Ĺ˝ - âMASTERY/AUTHORITY/SERVITUDE/OBEDIENCEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6716,7 +6716,7 @@ R- speaker/speechmaker/presenter + audience</P> <TR> <TD width="185" valign="top"><P>2. act/state of supervision or formal oversight</P></TD> <TD width="185" valign="top"><P>2. following of orders or instructions from super-visor/overseer</P></TD> - <TD width="185" valign="top"><P>2. lordship, class-based rule/oversight by noble claim or right</P></TD> + <TD width="185" valign="top"><P>2. lordship, class-based rule/oversight by noble claim or ârightâ</P></TD> <TD width="185" valign="top"><P>2. recognition/submission to claim of noble rule</P></TD> </TR> <TR> @@ -6731,7 +6731,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Q- - PSYCHOLOGICAL or PSYCHO-LINGUISTIC MANIPULATION/TREATMENT</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Q-Ĺ˝ - âPSYCHOLOGICAL or PSYCHO-LINGUISTIC MANIPULATION/TREATMENTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6742,7 +6742,7 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="370" colspan="2" valign="top"><P>1. state of delusion (both state + content)</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>2. to play games (with someone) = mentally manipulate via words/behavior/actions; state of being toyed with mentally</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. to âplay gamesâ (with someone) = mentally manipulate via words/behavior/actions; state of being toyed with mentally</P></TD> <TD width="370" colspan="2" valign="top"><P>2. means of psychiatric treatment; component of psychotherapy</P></TD> </TR> <TR> @@ -6760,11 +6760,11 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>same as above 3 stems referring to content thereof</P></TD> </TR> </TBODY></TABLE> - <P>Derivations: to delude, to hypnotize, to do a number on someone mentally, to entrance</P> + <P>Derivations: to delude, to hypnotize, to âdo a numberâ on someone mentally, to entrance</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">R-Z EFFORT/WORK</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">R-Z âEFFORT/WORKâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6793,11 +6793,11 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>Same as above 3 stems referring to result/product</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: strain, struggle, fight, toil, strenuous, persevere, operation, job, achievement, industry, enterprise, employment, employer, employee</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: strain, struggle, âfightâ, toil, strenuous, persevere, operation, job, achievement, industry, enterprise, employment, employer, employee</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T-Z OCCUPANCY/RESIDENCY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-Z âOCCUPANCY/RESIDENCYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6842,7 +6842,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">T- MANNERS/DECORUM/DIGNITY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">T-Ĺ˝ âMANNERS/DECORUM/DIGNITYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6875,7 +6875,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-Z GRATITUDE/THANKFULNESS/PRAISE</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-Z âGRATITUDE/THANKFULNESS/PRAISEâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6890,7 +6890,7 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="370" colspan="2" valign="top"><P>2. gratefulness; feeling or manifestation of being beholden to someone or something [feeling is justified and an honor to be feeling]</P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P>3. thank(s) / offer gratitude within ironic circumstances or merely as a courtesy, i.e., where expectation of thanks is for an unwanted, unnecessary, or purely symbolic act or required little or no effort on doers part</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. thank(s) / offer gratitude within ironic circumstances or merely as a courtesy, i.e., where expectation of thanks is for an unwanted, unnecessary, or purely symbolic act or required little or no effort on doerâs part</P></TD> <TD width="370" colspan="2" valign="top"><P>3. feeling or manifestation of being beholden or obliged to someone or something [feeling is resented and unwanted]</P></TD> </TR> <TR> @@ -6913,7 +6913,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">K-R APPEARANCE/SEMBLANCE/IMPRESSION</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">K-R âAPPEARANCE/SEMBLANCE/IMPRESSIONâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -6929,7 +6929,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. on the surface/superficially/seemingly</P></TD> - <TD width="370" colspan="2" valign="top"><P>3. façade, veneer</P></TD> + <TD width="370" colspan="2" valign="top"><P>3. façade, veneer</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">COMPLEMENTARY Stems</P></TD> @@ -6945,14 +6945,14 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">M-J HAPPEN/OCCUR(ENCE)/MANIFEST/EVENT</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">M-J âHAPPEN/OCCUR(ENCE)/MANIFEST/EVENTâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. happen / occur / take place / to pass</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. happen / occur / take place / to âpassâ</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. step / act / action</FONT></P></TD> </TR> <TR> @@ -6978,7 +6978,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0" bordercolor="#D4D0C8"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">P-J EXISTENCE/ONTOLOGY/METAPHYSICS</FONT></P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><FONT color="#000000">P-J âEXISTENCE/ONTOLOGY/METAPHYSICSâ</FONT></P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -7005,14 +7005,14 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0" bgcolor="#FFFFFF"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K- <IMG src="assets/z-bar.gif" alt="z-bar" width="9" height="11"> TRANSCENDENCE / SPIRIT / RELIGION</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">K- <IMG src="assets/z-bar.gif" alt="z-bar" width="9" height="11"> âTRANSCENDENCE / SPIRIT / RELIGIONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">FORMAL Stems</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. ones spirit or soul / transcendent connection to the universe</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. oneâs spirit or soul / transcendent âconnectionâ to the universe</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">1. religious belief</FONT></P></TD> </TR> <TR> @@ -7020,7 +7020,7 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">2. feeling of religious fervor or zeal</FONT></P></TD> </TR> <TR> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. striving/quest for ultimate destiny/purpose/Omega point</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. striving/quest for ultimate destiny/purpose/âOmega pointâ</FONT></P></TD> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. striving/quest for salvation/redemption/enlightment (specific to particular religion)</FONT></P></TD> </TR> <TR> @@ -7037,7 +7037,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-R APPEAR/MANIFEST/SHOW/EXHIBIT/DISPLAY</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-R âAPPEAR/MANIFEST/SHOW/EXHIBIT/DISPLAYâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7070,7 +7070,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">SP-R MANNERCONDUCT/BEHAVIOR/DEMEANOR</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">SP-R âMANNERCONDUCT/BEHAVIOR/DEMEANORâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7082,7 +7082,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. guise, form; to take the form/guise of</P></TD> - <TD width="370" colspan="2" valign="top"><P>2. behave/comport/conduct onself = outward display of ones personality/thoughts/emotions/motives; behavior/conduct/deportment</P></TD> + <TD width="370" colspan="2" valign="top"><P>2. behave/comport/conduct onself = outward display of oneâs personality/thoughts/emotions/motives; behavior/conduct/deportment</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>3. practice/policy</P></TD> @@ -7103,7 +7103,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">X-J TEMPORARY ATMOSPHERIC PHENOMENA</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">X-J âTEMPORARY ATMOSPHERIC PHENOMENA</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7138,7 +7138,7 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>2. warm air front</P></TD> </TR> <TR> - <TD width="185" valign="top"><P>3. cloud [in the sky] physical occurrence</P></TD> + <TD width="185" valign="top"><P>3. cloud [in the sky] â physical occurrence</P></TD> <TD width="185" valign="top"><P>3. impact/effect of cloud [in the sky], e.g., its hiding of the sun, it causing zero visibility as a plane flies through it, etc.</P></TD> <TD width="185" valign="top"><P>3. eye of storm [physical occurrence]</P></TD> <TD width="185" valign="top"><P>3. short-lived calm/still conditions associated with the eye of a storm</P></TD> @@ -7151,7 +7151,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">C-H PLAY/RECREATION/LEISURE<BR> + <TD width="739" colspan="4" valign="top"><P align="center">C-H âPLAY/RECREATION/LEISUREâ<BR> (These stems are often used with the various Valence categories (Section 5.2) to specify the manner of participation)</P></TD> </TR> <TR> @@ -7186,7 +7186,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Č-H DEGREE OF WAKEFULNESS OR CONSCIOUSNESS<BR> + <TD width="739" colspan="4" valign="top"><P align="center">Č-H âDEGREE OF WAKEFULNESS OR CONSCIOUSNESSâ<BR> Note: Stems from this root are used in conjunction with various degree indicator affixes such as the EXN, EXD and SUF affixes from Sec. 7.7.6 in order to distinguish which polarity (awake vs. asleep) is implied.</P></TD> </TR> <TR> @@ -7195,7 +7195,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>1. degree of consciousness or unconsciousness</P></TD> - <TD width="370" colspan="2" valign="top"><P>1. degree of activity/vivaciousness/energy</P></TD> + <TD width="370" colspan="2" valign="top"><P>1. degree of activity/vivaciousness/âenergyâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P>2. degree of wakefulness or sleepiness</P></TD> @@ -7225,14 +7225,14 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>3. capacity for or faculty of alertness/attention/awareness</P></TD> <TD width="185" valign="top"><P>3. that to or of which one is alert/attentive/aware</P></TD> <TD width="185" valign="top"><P>3. state of personal intent/diligence/enterprise</P></TD> - <TD width="185" valign="top"><P>3. object of ones intent/diligence/enterprise</P></TD> + <TD width="185" valign="top"><P>3. object of oneâs intent/diligence/enterprise</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: sleepy, listless(ness), grogginess, fresh, unconscious, dull, inattentive, vigilant, to stir, frisky, ardent, eager, persevere, bustling, zeal</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: sleepy, listless(ness), grogginess, âfreshâ, unconscious, dull, inattentive, vigilant, to âstirâ, frisky, ardent, eager, persevere, bustling, zeal</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-H SEEK/SEARCH</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-H âSEEK/SEARCHâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7265,7 +7265,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">P-X WANT/DESIRE/REQUEST</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">P-X âWANT/DESIRE/REQUESTâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7294,11 +7294,11 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P>same as above 3 stems referring to the thing requested/needed</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: whim, fancy, inclination, appetite, hunger, greed, covet, propensity, aptness, eagerness, longing, crave, urge, passion, attract, tempt, persuade, allure, popularity, demand</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: whim, fancy, inclination, appetite, âhungerâ, greed, covet, propensity, aptness, eagerness, longing, crave, urge, passion, attract, tempt, persuade, allure, popularity, demand</P> <P></P> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center">Q-H - HUNTING & GATHERING/PLANTING & HARVESTING/SUBSISTENCE FROM THE LAND</P></TD> + <TD width="739" colspan="4" valign="top"><P align="center">Q-H - âHUNTING & GATHERING/PLANTING & HARVESTING/SUBSISTENCE FROM THE LANDâ</P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7339,7 +7339,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-H CHOICE/ALTERNTIVE</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-H âCHOICE/ALTERNTIVEâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -7374,7 +7374,7 @@ R- speaker/speechmaker/presenter + audience</P> <BLOCKQUOTE> <TABLE border="1" cellspacing="0" cellpadding="0"> <TBODY><TR> - <TD width="739" colspan="3" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">k</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Jv.gif" alt="j + hacek" width="9" height="20" align="absmiddle"></FONT></STRONG> DAY/NIGHT</P></TD> + <TD width="739" colspan="3" valign="top"><P align="center"><STRONG><FONT face="Arial, Helvetica, sans-serif">k</FONT></STRONG>-<STRONG><FONT face="Arial, Helvetica, sans-serif"><IMG src="assets/Jv.gif" alt="j + hacek" width="9" height="20" align="absmiddle"></FONT></STRONG> âDAY/NIGHTâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7382,7 +7382,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>1. day [= 24-hour period]</P></TD> - <TD width="372" rowspan="7" valign="top"><P>same as for INFORMAL stems except applied to a particular date or scheduled day as in my first day at work or Independence Day</P></TD> + <TD width="372" rowspan="7" valign="top"><P>same as for INFORMAL stems except applied to a particular date or scheduled day as in âmy first day at workâ or âIndependence Dayâ</P></TD> </TR> <TR> <TD width="367" colspan="2" valign="top"><P>2. sky</P></TD> @@ -7406,11 +7406,11 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="194" valign="top"><P>3. natural darkness</P></TD> </TR> </TBODY></TABLE> - <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: dawn, sunrise, daybreak, evening, sunset, twilight, morning, evening, afternoon, mid-day, noontime, midnight, the wee hours [= Spanish madrugada]</P> + <P>EXAMPLE MORPHOLOGICAL DERIVATIVES FROM THE ABOVE STEMS: dawn, sunrise, daybreak, evening, sunset, twilight, morning, evening, afternoon, mid-day, noontime, midnight, the âweeâ hours [= Spanish âmadrugadaâ]</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">M-Ķ TIME PERIOD/DURATION LESS THAN ONE DAY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">M-Ķ âTIME PERIOD/DURATION LESS THAN ONE DAYâ</FONT></P></TD> </TR> <TR> <TD width="346" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -7418,15 +7418,15 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="346" colspan="2" valign="top"><P><FONT color="#000000">1. moment/instant</FONT></P></TD> - <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">1. second [= basic unit of cyclic time, based on clapping of hands once together then once with back of hands together]</FONT></P></TD> + <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">1. âsecondâ [= basic unit of cyclic time, based on clapping of hands once together then once with back of hands together]</FONT></P></TD> </TR> <TR> - <TD width="346" colspan="2" valign="top"><P><FONT color="#000000">2. a while</FONT></P></TD> - <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">2. minute = 100 seconds</FONT></P></TD> + <TD width="346" colspan="2" valign="top"><P><FONT color="#000000">2. a âwhileâ</FONT></P></TD> + <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">2. âminuteâ = 100 seconds</FONT></P></TD> </TR> <TR> <TD width="346" colspan="2" valign="top"><P><FONT color="#000000">3. portion of a day</FONT></P></TD> - <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">3. hour = 100 minutes</FONT></P></TD> + <TD width="394" colspan="2" valign="top"><P><FONT color="#000000">3. âhourâ = 100 minutes</FONT></P></TD> </TR> <TR> <TD width="346" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> @@ -7439,12 +7439,12 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="221" valign="top"><P><FONT color="#000000">Same as above three stems w/ focus on time during which</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">SSD affix used with FORMAL stems by degree: 1) 1/100 of time period 2) 1/10 3) ź 4) ˝ 5) exactly/precisely 6) twice the duration 7) 4 times 8) 10 times 9) 100 times</FONT></P> - <P><FONT color="#000000">SSD affix used with INFORMAL Stem No. 3 by degree: 1) midnight to dawn period [Spanish madrugada] 2) dawn [use of CPT or TRM = sunrise] 3) early morning 4) morning 5) midday 6) afternoon [use of CPT or TRM = sunset] 7) twilight 8) evening 9) late night, from darkness till midnight</FONT></P> + <P><FONT color="#000000">SSD affix used with FORMAL stems by degree: 1) 1/100 of time period 2) 1/10 3) Ä˝ 4) Ë 5) exactly/precisely 6) twice the duration 7) 4 times 8) 10 times 9) 100 times</FONT></P> + <P><FONT color="#000000">SSD affix used with INFORMAL Stem No. 3 by degree: 1) midnight to dawn period [Spanish âmadrugadaâ] 2) dawn [use of CPT or TRM = âsunriseâ] 3) early morning 4) morning 5) midday 6) afternoon [use of CPT or TRM = âsunsetâ] 7) twilight 8) evening 9) late night, from darkness till midnight</FONT></P> <P><FONT color="#000000"><STRONG> </STRONG></FONT></P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD colspan="4" valign="top"><P align="center">N-Ķ WAIT/AWAIT</P></TD> + <TD colspan="4" valign="top"><P align="center">N-Ķ âWAIT/AWAITâ</P></TD> </TR> <TR> <TD colspan="2" valign="top"><P align="center">INFORMAL Stems</P></TD> @@ -7476,7 +7476,7 @@ R- speaker/speechmaker/presenter + audience</P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ķ TIME PERIOD/DURATION MORE THAN ONE DAY</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">P-Ķ âTIME PERIOD/DURATION MORE THAN ONE DAYâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -7492,7 +7492,7 @@ R- speaker/speechmaker/presenter + audience</P> </TR> <TR> <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. solar year</FONT></P></TD> - <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. lifetime; timespan from beginning to end of something</FONT></P></TD> + <TD width="370" colspan="2" valign="top"><P><FONT color="#000000">3. âlifetimeâ; timespan from beginning to end of something</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">COMPLEMENTARY Stems</FONT></P></TD> @@ -7505,11 +7505,11 @@ R- speaker/speechmaker/presenter + audience</P> <TD width="185" valign="top"><P><FONT color="#000000">Same as above three stems w/ focus on time during which</FONT></P></TD> </TR> </TBODY></TABLE> - <P><FONT color="#000000">Use of SSD affix give equivalents to decade, century, millenium, etc.</FONT></P> + <P><FONT color="#000000">Use of SSD affix give equivalents to âdecadeâ, âcentury,â âmilleniumâ, etc.</FONT></P> <P> </P> <TABLE border="1" cellpadding="0" cellspacing="0"> <TBODY><TR> - <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Ķ SEASON</FONT></P></TD> + <TD width="739" colspan="4" valign="top"><P align="center"><FONT color="#000000">T-Ķ âSEASONâ</FONT></P></TD> </TR> <TR> <TD width="370" colspan="2" valign="top"><P align="center"><FONT color="#000000">INFORMAL Stems</FONT></P></TD> @@ -7539,12 +7539,12 @@ R- speaker/speechmaker/presenter + audience</P> </TR> </TBODY></TABLE> <P><FONT color="#000000">THE ABOVE PATTERN IS APPLIED TO FOLLOWING ROOTS:</FONT><FONT color="#0000FF"><BR> - <FONT color="#000000">R-Ķ SPRING<BR> - L-Ķ SUMMER<BR> - S-Ķ AUTUMN/FALL<BR> - C -Ķ WINTER<BR> - PS-Ķ TROPICAL RAINY SEASON<BR> - TL-Ķ TROPICAL DRY SEASON</FONT></FONT></P> + <FONT color="#000000">R-Ķ âSPRINGâ<BR> + L-Ķ âSUMMERâ<BR> + S-Ķ âAUTUMN/FALLâ<BR> + C -Ķ âWINTERâ<BR> + PS-Ķ âTROPICAL RAINY SEASONâ<BR> + TL-Ķ âTROPICAL DRY SEASONâ</FONT></FONT></P> </BLOCKQUOTE> <P align="center"></P> <P><BR> @@ -7602,7 +7602,7 @@ R- speaker/speechmaker/presenter + audience</P> <!-- <td valign="top"><font face="Arial, Helvetica, sans-serif"><a href="ilaksh/Ilaksh_Intro.html">Revised Ithkuil: <font face="Times New Roman, Times, serif">I</font>laksh</a></font></td> --> </TR> </TBODY></TABLE> -<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion +<P><FONT size="-1">Š2004-2009 by John Quijada. You may copy or excerpt any portion of the contents of this website provided you give full attribution to the author and this website. </FONT></P> <P align="justify"> </P> |