Alphabets Alphabets, or phonemic alphabets, are sets of letters, usually arranged in a fixed order, each of which represents one or more phonemes, both consonants and vowels, in the language they are used to write. In some case combinations of letters are used to represent single phonemes, as in the English sh, ch and th. The Greeks created the first phonemic alphabet when they adapted the Phoenican alphabet to write Greek. They used a number of Phoenician letters that represented consonant sounds not present in Greek to write Greek vowels. The word alphabet comes, via the Latin word alphabētum, from the Greek word αλφάβητος (alphabētos), which itself comes from the first two letters of the Greek alphabet, α (άλφα/alpha) and β (βήτα/beta). The best-known and most widely-used alphabets are the Latin or Roman alphabet and the Cyrillic alphabet, which have been adapted to write numerous languages. Alphabets currently in use Alphabets used to a limited extent Alphabets that are no longer used Please note
largehearted boy: a music and literature blog A working library / by Mandy Brown Le Monde's 100 Books of the Century The 100 Books of the Century (French: Les cent livres du siècle) is a list of the one hundred best books of the 20th century, according to a poll conducted in the spring of 1999 by the French retailer Fnac and the Paris newspaper Le Monde. Starting from a preliminary list of 200 titles created by bookshops and journalists, 17,000 French voted by responding to the question, "Which books have stayed in your memory?" (« Quels livres sont restés dans votre mémoire ? »).[1] The list of acclaimed titles mixes great novels with poetry and theatre, as well as the comic strip. The 100 Books of the Century[edit] Note: Language refers to the book's first language, not to the author's career generally. See also[edit] References[edit] External links[edit]
The Reading Space “The nothing-to-hide argument (…) is not of recent vintage. One of the characters in Henry James’s 1888 novel, The Reverberator, muses: “If these people had done bad things they ought to be ashamed of themselves and he couldn’t pity them, and if they hadn’t done them there was no need of making such a rumpus about other people knowing.” (…) Likewise, in Friedrich Dürrenmatt’s novella “Traps,” which involves a seemingly innocent man put on trial by a group of retired lawyers in a mock-trial game, the man inquires what his crime shall be. “An altogether minor matter,” replies the prosecutor. “If you have nothing to hide, then that quite literally means you are willing to let me photograph you naked? To evaluate the nothing-to-hide argument, we should begin by looking at how its adherents understand privacy. Privacy can be invaded by the disclosure of your deepest secrets. Privacy, in other words, involves so many things that it is impossible to reduce them all to one simple idea.