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Online Etymology Dictionary magic (adj.) late 14c., from Old French magique, from Latin magicus "magic, magical," from Greek magikos, from magike (see magic (n.)). Magic carpet first attested 1816. magic (v.) 1906, from magic (n.). magic (n.) late 14c., "art of influencing events and producing marvels using hidden natural forces," from Old French magique "magic, magical," from Late Latin magice "sorcery, magic," from Greek magike (presumably with tekhne "art"), fem. of magikos "magical," from magos "one of the members of the learned and priestly class," from Old Persian magush, possibly from PIE *magh- (1) "to be able, to have power" (see machine). magical (adj.) 1550s, from magic (n.) + -al (1). magician (n.) late 14c., from Old French magiciien "magician, sorcerer," from magique (see magic (n.)). wizard (n.) early 15c., "philosopher, sage," from Middle English wys "wise" (see wise (adj.)) + -ard. charm (n.) c.1300, "incantation, magic charm," from Old French charme (12c.) Sense of "pleasing quality" evolved 17c. Thoth
My Writing Spot Sound symbolism Study in linguistics In linguistics, sound symbolism is the perceptual similarity between speech sounds and concept meanings. It is a form of linguistic iconicity. For example, the English word ding may sound similar to the actual sound of a bell. Linguistic sound may be perceived as similar to not only sounds, but also to other sensory properties, such as size, vision, touch, or smell, or abstract domains, such as emotion or value judgment. Plato and the Cratylus Dialogue [edit] However, faced by an overwhelming number of counterexamples given by Hermogenes, Socrates has to admit that "my first notions of original names are truly wild and ridiculous". The Upanishads and Vyākaraṇa contain a lot of material about sound symbolism, for instance: The mute consonants represent the earth, the sibilants the sky, the vowels heaven. The concept of Sphota and Nirukta is also based on this. Early Western phonosemantics Onomatopoeia refers to words that imitate sounds. Sound symbolism in basic vocabulary
Calque In linguistics, a calque (/ˈkælk/) or loan translation is a word or phrase borrowed from another language by literal, word-for-word (Latin: verbum pro verbo) or root-for-root translation. Used as a verb, "to calque" means to borrow a word or phrase from another language while translating its components so as to create a new lexeme in the target language. "Calque" is a loanword from a French noun, and derives from the verb "calquer" ("to trace", "to copy").[1] "Loanword" is a calque of the German "Lehnwort", just as "loan translation" is of "Lehnübersetzung".[2] Proving that a word is a calque sometimes requires more documentation than does an untranslated loanword, since in some cases a similar phrase might have arisen in both languages independently. This is less likely to be the case when the grammar of the proposed calque is quite different from that of the language proposed to be borrowing, or the calque contains less obvious imagery. Examples[edit] "Flea market"[edit] "Skyscraper"[edit]
Internet Resources - Writers Resources - Writing Links & Writers Links for Writers - Word Stuff Unsorted [/writers] James Patrick Kelly - Murder Your Darlings - "When time comes to make that final revision, however, you must harden your heart, sharpen the ax and murder your darlings." Greda Vaso - Determining the Readability of a Book - includes formulas for Gunning's Fog Index, Flesch Formula, Powers Sumner Kearl L. Kip Wheeler - Literary Terms and Definitions L. Kip Wheeler - Comp - Lit - Poetry - Links - more Style - Grammar - Errors in English [/writers]American Heritage - Book of English Usage - free download Band-Aid AP StylebookPaul Brians - Common Errors in EnglishCJ Cherryh - Writerisms and other Sins The Chicago Manual of Style FAQ Gary N. Curtis - The Fallacy Files - Logical fallacies and bad arguments Prof.
Subversions de l’Apocalypse: penser l’origo avec la traduction | Trahir Par René Lemieux, Montréal[1] Vous vous êtes tout le temps demandé, j’en suis sûr, d’où je parlais, comme on dit maintenant, de quel côté j’étais dans tous ces conflits, (1.) à droite ou (2.) à gauche de la limite ou, (3.) plus vraisemblablement, pensent certains (à tort ou à raison), un inlassable parasite agité d’un mouvement aléatoire qui passe et repasse la limite sans qu’on sache jamais si c’est pour jouer les médiateurs, en vue d’un traité de paix perpétuelle ou pour rallumer les conflits et les guerres dans une Université qui fut dès sa naissance en mal d’apocalypse et d’eschatologie.Jacques Derrida « Mochlos ou le conflit des facultés »[2] Je croyais qu’au dernier moment vous ne viendriez pas. Vous avez fait un geste politique décisif en venant, et qui n’était pas simplement un geste. Pourquoi dire « viens! » à des personnes pour lire un texte en groupe? La temporalité de l’Apocalypse : l’archaïsme du verbe « s’en venir » Le sous-texte de la traduction : découvrir une fiction Notes
June 14 Henry Reed Henry Reed Henry Reed was the narrow neck in the hourglass of tradition, through which tunes were guided back out into the wider currents of circulation. Alan Jabbour Josh and Henry Reed, circa 1903. Henry Reed, age 19, plays banjo; his older brother Josh plays fiddle. James Henry Neel Reed, known as Henry Reed, was born on April 28, 1884, in the Appalachian Mountains of Monroe County, West Virginia. Henry Reed learned the overwhelming majority of his tunes by ear and retained them by memory. Henry Reed Playing the Fiddle, Accompanied by Bobbie Thompson on Guitar, Kit Olson, photographer, Narrows, Virginia, Summer 1967. Reed's musical influence broadened significantly after 1966 when Karen and Alan Jabbour, graduate students at Duke University, began to audio tape his fiddling. The titles of Henry Reed's fiddle tunes are redolent of the old Appalachian frontier. Billy Bitzer and the Biograph Cameraman G. Together, Bitzer and Griffith forged the grammar and syntax of film.
Dictionnaire latin, analyse de texte latin, idéal pour le soutien scolaire The Ren'Py Visual Novel Engine Louis Hjelmslev Louis Hjelmslev (couramment prononcé en français [jεmslεf] ou [jεlmslεf]; prononciation danoise : [ˈjelʔmsleu]) (Copenhague, 3 octobre 1899 - idem, 30 mai 1965), est un linguiste danois qui a prolongé les réflexions de Ferdinand de Saussure en fondant la glossématique. Il était le fils du mathématicien Johannes Hjelmslev (de) (1873-1950). Nommé Professeur de l'université d'Aarhus en 1934, il fut appelé à l'université de Copenhague dès 1937. Maître indiscuté du Cercle linguistique de Copenhague, il est un des pionniers du structuralisme et le fondateur de la glossématique, théorie linguistique de tournure structuraliste qui porte à leurs ultimes conséquences les postulats du Cours de linguistique générale de Saussure. Parmi ses œuvres sont Principes de grammaire générale (1928), et Prolégomènes à une théorie du langage (en danois : Omkring Sprogteoriens Grundlæggelse) (1943). La théorie de Hjelmslev, qu'il appelait glossématique, prolonge le concept saussurien de signe linguistique.
The Paititi Institute Chuang Tzu's Chaos Linguistics [The Seven by Nine Squares home page] by Peter Lamborn Wilson Contents Note Suggested method for reading the text: extensive quotations from "Chuang Tzu" (translations by A.C. The bait is the means to get the fish where you want it, catch the fish and you forget the bait. Does Taoism possess a "metaphysics"? Certainly later Taoism, influenced by Buddhism and Neo-Confucianism, developed elaborate cosmology, ontology, theology, teleology, and eschatology - but can these "medieval accretions" be read back into the classic texts, the Tao Te Ching, the Chuang Tzu, or the Lieh Tzu? Well, yes and no. Supernaturalism and materialism both appear equally funny to him. The Chuang Tzu must surely be unique amongst all religious scripture [3] for its remarkable anti-metaphysics. The universe comes into being spontaneously; as Kuo Hsiang points out [4], the search for a "lord" (or agens) of this creation is an exercise in infinite regress toward emptiness. But first let me define a few terms. Kuo Hsiang
Ink - Quotes about writing by writers presented by The Fontayne Group Writing "I put a piece of paper under my pillow, and when I could not sleep I wrote in the dark." Henry David Thoreau "Writing is an adventure." Winston Churchill "Know something, sugar? Stories only happen to people who can tell them." Allan Gurganus "... only he is an emancipated thinker who is not afraid to write foolish things." Anton Chekhov "A poet is someone who stands outside in the rain hoping to be struck by lightening." "Whether or not you write well, write bravely." "The first rule, indeed by itself virtually a sufficient condition for good style, is to have something to say."