bbn--ang--183 typography lecture 8a: diacriticsseas3.elte.hu/typo/08a-diacritics.pdf ·...
TRANSCRIPT
![Page 1: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/1.jpg)
BBN–ANG–183 Typography
Lecture 8A: Diacritics
Zoltán Kiss & Péter Szigetvári
Dept of English Linguistics, Eötvös Loránd University
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outline
introduction
diacritics one by oneacute accentgrave and double acute accentbreve, caroncircumflex, macrondieresis and umlautdot, ringcedilla, comma, ogonektilde, bar
Greek diacritics
diacritics in Arabic scripts
sample exam questions
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter
kz & szp (delg) typo/diacritics (8A) 3 / 18
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
kz & szp (delg) typo/diacritics (8A) 3 / 18
![Page 5: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/5.jpg)
introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
kz & szp (delg) typo/diacritics (8A) 3 / 18
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
2. composition: adding the diacritic to the letter
kz & szp (delg) typo/diacritics (8A) 3 / 18
![Page 7: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/7.jpg)
introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
2. composition: adding the diacritic to the letter
TEX/LATEX are truly compositional: any diacritic can be added toany letter: \’a yields á, \’q yields q (\’@ yields @!)
kz & szp (delg) typo/diacritics (8A) 3 / 18
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
2. composition: adding the diacritic to the letter
TEX/LATEX are truly compositional: any diacritic can be added toany letter: \’a yields á, \’q yields q (\’@ yields @!)
HTML only imitates compositionality (has mnemonic names forcharacters): á yields á, &qacute; has nomeaning
kz & szp (delg) typo/diacritics (8A) 3 / 18
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
2. composition: adding the diacritic to the letter
TEX/LATEX are truly compositional: any diacritic can be added toany letter: \’a yields á, \’q yields q (\’@ yields @!)
HTML only imitates compositionality (has mnemonic names forcharacters): á yields á, &qacute; has nomeaning
◮ when unavailable diacritics can be replaced either by some otherdiacritic, the addition of some other character, or even simply omitted:e.g., ő → õ or ô; á → ’a, a’, a1, aa, etc.; François as Francois
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introduction
diacritics
◮ do not occur in isolation, they are typically “carried” by a letter◮ two ways of producing letters with diacritics
1. the letter with the diacritic is one unique, precomposed character, i.e.,one glyph (with a code of its own): e.g., ISO 8859, Unicode, etc.
2. composition: adding the diacritic to the letter
TEX/LATEX are truly compositional: any diacritic can be added toany letter: \’a yields á, \’q yields q (\’@ yields @!)
HTML only imitates compositionality (has mnemonic names forcharacters): á yields á, &qacute; has nomeaning
◮ when unavailable diacritics can be replaced either by some otherdiacritic, the addition of some other character, or even simply omitted:e.g., ő → õ or ô; á → ’a, a’, a1, aa, etc.; François as Francois
◮ a site devoted to diacritics: http://diacritics.typo.cz/
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diacritics one by one acute accent
diacritics one by one
acute accent
x
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diacritics one by one acute accent
diacritics one by one
acute accent
x◮ on vowels: marks stress (Italian, Spanish, Portuguese, Welsh),
length (Hungarian, Czech, Slovak, Irish), quality (French,Italian, Portuguese), etymology (Polish), high tone (Yoruba),rising tone (Vietnamese), diphthong (Faroese, Icelandic),disambiguation (Dutch, Danish)
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diacritics one by one acute accent
diacritics one by one
acute accent
x◮ on vowels: marks stress (Italian, Spanish, Portuguese, Welsh),
length (Hungarian, Czech, Slovak, Irish), quality (French,Italian, Portuguese), etymology (Polish), high tone (Yoruba),rising tone (Vietnamese), diphthong (Faroese, Icelandic),disambiguation (Dutch, Danish)
◮ on consonants: length (Slovak: ĺ, ŕ), palatality (Polish, Croatian)
kz & szp (delg) typo/diacritics (8A) 4 / 18
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diacritics one by one acute accent
diacritics one by one
acute accent
x◮ on vowels: marks stress (Italian, Spanish, Portuguese, Welsh),
length (Hungarian, Czech, Slovak, Irish), quality (French,Italian, Portuguese), etymology (Polish), high tone (Yoruba),rising tone (Vietnamese), diphthong (Faroese, Icelandic),disambiguation (Dutch, Danish)
◮ on consonants: length (Slovak: ĺ, ŕ), palatality (Polish, Croatian)◮ the name comes from Greek æxÔ ‘sharp’ indicating high tone
kz & szp (delg) typo/diacritics (8A) 4 / 18
![Page 15: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/15.jpg)
diacritics one by one acute accent
diacritics one by one
acute accent
x◮ on vowels: marks stress (Italian, Spanish, Portuguese, Welsh),
length (Hungarian, Czech, Slovak, Irish), quality (French,Italian, Portuguese), etymology (Polish), high tone (Yoruba),rising tone (Vietnamese), diphthong (Faroese, Icelandic),disambiguation (Dutch, Danish)
◮ on consonants: length (Slovak: ĺ, ŕ), palatality (Polish, Croatian)◮ the name comes from Greek æxÔ ‘sharp’ indicating high tone
some Polish typographers insist that theacute accent in Polish (a.k.a. kreska) isdifferent from the acute accent — this isprobably a source of national pride ,
(cf. http://www.twardoch.com/download/polishhowto/kreska.html)
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
◮ the name comes from Greek barÔ ‘heavy’ indicating low tone
kz & szp (delg) typo/diacritics (8A) 5 / 18
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
◮ the name comes from Greek barÔ ‘heavy’ indicating low tone
double acute accent
x
kz & szp (delg) typo/diacritics (8A) 5 / 18
![Page 20: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/20.jpg)
diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
◮ the name comes from Greek barÔ ‘heavy’ indicating low tone
double acute accent
x◮ is a Hungarian speciality (national pride! ,)
kz & szp (delg) typo/diacritics (8A) 5 / 18
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
◮ the name comes from Greek barÔ ‘heavy’ indicating low tone
double acute accent
x◮ is a Hungarian speciality (national pride! ,)◮ before the 19th c. a combination of acute and umlaut was
used: ö (cf. http://www.font.hu/hrant.html)
kz & szp (delg) typo/diacritics (8A) 5 / 18
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diacritics one by one grave and double acute accent
diacritics one by one
grave (/grA:v/) accent
x◮ on vowels: marks stress (Italian, Catalan), quality (Italian,
Catalan, French), shortness (Welsh: mwg), low tone(Yoruba), falling tone (Vietnamese), contracted vowels(Portuguese), disambiguation (French, Italian, Norwegian),pronunciation of the vowel (English: learnèd, blessèd)
◮ the name comes from Greek barÔ ‘heavy’ indicating low tone
double acute accent
x◮ is a Hungarian speciality (national pride! ,)◮ before the 19th c. a combination of acute and umlaut was
used: ö (cf. http://www.font.hu/hrant.html)◮ also used for extra high tone (Tanacross), ő is used to replace ø in
Faroese; in linguistic publications a double grave accent is used toindicate short low vowels, e.g., `a, in South Slavic
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diacritics one by one breve, caron
diacritics one by one
breve
x
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
kz & szp (delg) typo/diacritics (8A) 6 / 18
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
kz & szp (delg) typo/diacritics (8A) 6 / 18
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
caron (Czech háček, Slovak mäkčeň, Serbocroat kvaka)
x
kz & szp (delg) typo/diacritics (8A) 6 / 18
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
caron (Czech háček, Slovak mäkčeň, Serbocroat kvaka)
x◮ on consonants: marks palatality (Czech, Slovak, Serbocroat
(note č 6= ć))
kz & szp (delg) typo/diacritics (8A) 6 / 18
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
caron (Czech háček, Slovak mäkčeň, Serbocroat kvaka)
x◮ on consonants: marks palatality (Czech, Slovak, Serbocroat
(note č 6= ć))◮ on vowels: marks palatality of the preceding consonant
(Czech ě), falling rising tone (Mandarin)
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
caron (Czech háček, Slovak mäkčeň, Serbocroat kvaka)
x◮ on consonants: marks palatality (Czech, Slovak, Serbocroat
(note č 6= ć))◮ on vowels: marks palatality of the preceding consonant
(Czech ě), falling rising tone (Mandarin)◮ developed from c (along with x for length, these are Jan Hus’s
inventions) — the original shape is still retained in Polish ż
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diacritics one by one breve, caron
diacritics one by one
breve
x◮ on vowels: marks shortness/nonsyllabicity (Cyrillic i ( = j),
cf. i ( = i)), Esperanto u ( = w)), different quality(Rumanian ă ( = @))
◮ on consonants: marks “weakness” (Turkish, Azerbaijani ğ ( = j))
caron (Czech háček, Slovak mäkčeň, Serbocroat kvaka)
x◮ on consonants: marks palatality (Czech, Slovak, Serbocroat
(note č 6= ć))◮ on vowels: marks palatality of the preceding consonant
(Czech ě), falling rising tone (Mandarin)◮ developed from c (along with x for length, these are Jan Hus’s
inventions) — the original shape is still retained in Polish ż◮ has a different shape with some consonants: Ť∼ť, Ď∼ď, Ľ∼ľ
kz & szp (delg) typo/diacritics (8A) 6 / 18
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diacritics one by one breve, caron
Č č Ň ň Š š Ť ť Ď ď Ľ ľ
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
◮ on consonants: in Esperanto it is used like the caron: c = [Ù], inChichewa w stands for [B]
kz & szp (delg) typo/diacritics (8A) 8 / 18
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
◮ on consonants: in Esperanto it is used like the caron: c = [Ù], inChichewa w stands for [B]
◮ derives from Greek perispwmènh ‘bent about’, indicating falling tone
kz & szp (delg) typo/diacritics (8A) 8 / 18
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
◮ on consonants: in Esperanto it is used like the caron: c = [Ù], inChichewa w stands for [B]
◮ derives from Greek perispwmènh ‘bent about’, indicating falling tone
macron /mækr@n/
x
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
◮ on consonants: in Esperanto it is used like the caron: c = [Ù], inChichewa w stands for [B]
◮ derives from Greek perispwmènh ‘bent about’, indicating falling tone
macron /mækr@n/
x◮ on vowels: marks length (Latin, Latvian, Lithuanian), mid
tone (Mandarin)
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diacritics one by one circumflex, macron
diacritics one by one
circumflex or caret
x◮ on vowels: marks length (Welsh gwn), etymological length
(Latin VsC is often spelt VC in French: L costa∼F côte,OF beste ∼F bête), diphthong (Slovak ô ( = [wo])), differentquality (Rumanian â, earlier î ( = [W])), openness (Portuguese ê( = [E]), é ( = [e]))
◮ on consonants: in Esperanto it is used like the caron: c = [Ù], inChichewa w stands for [B]
◮ derives from Greek perispwmènh ‘bent about’, indicating falling tone
macron /mækr@n/
x◮ on vowels: marks length (Latin, Latvian, Lithuanian), mid
tone (Mandarin)◮ on consonants: in medieval scripts it marks doubling: m, n,
in handwriting it may be used to distinguish u and n
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
kz & szp (delg) typo/diacritics (8A) 9 / 18
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N]
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij
ij, ij-ligature, ÿ, y
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij◮ umlaut is a different diacritic with the same glyph, marking fronting of
a back vowel, in German replacement is possible: ä/ö/ü→ ae/oe/ue
ij, ij-ligature, ÿ, y
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij◮ umlaut is a different diacritic with the same glyph, marking fronting of
a back vowel, in German replacement is possible: ä/ö/ü→ ae/oe/ue
ij, ij-ligature, ÿ, y schoen, schoen, schön
kz & szp (delg) typo/diacritics (8A) 9 / 18
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij◮ umlaut is a different diacritic with the same glyph, marking fronting of
a back vowel, in German replacement is possible: ä/ö/ü→ ae/oe/ue◮ heavy metal umlaut: decoration applied for a Gothic feeling, e.g.,
Motörhead, Ümlaut
ij, ij-ligature, ÿ, y schoen, schoen, schön
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diacritics one by one dieresis and umlaut
diacritics one by one
dieresis /daI"er@sIs/ or trema and umlaut
x◮ dieresis/trema marks hiatus, i.e., that two vowels are
pronounced separately: naïve, or that the vowel is pronouncedat all: French aigüe [Egy] (vs. algue [alg]), English Brontë
◮ Albanian ë is [@], Malagasy n is [N], Dutch ÿ is a ligature for ij◮ umlaut is a different diacritic with the same glyph, marking fronting of
a back vowel, in German replacement is possible: ä/ö/ü→ ae/oe/ue◮ heavy metal umlaut: decoration applied for a Gothic feeling, e.g.,
Motörhead, Ümlaut
ij, ij-ligature, ÿ, y schoen, schoen, schön
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diacritics one by one dieresis and umlaut
Deutsche Kurrentschrift (1865)
= ch, ck, th, sch, sz, st
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diacritics one by one dot, ring
diacritics one by one
dot
x x.
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)◮ in Turkish i and ı are different characters ([i] and [W]), their uppercase
pairs are İ and I: cf. İstanbul, İzmir, Niğde, Ağrı, Iğdır, kapı
kz & szp (delg) typo/diacritics (8A) 11 / 18
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)◮ in Turkish i and ı are different characters ([i] and [W]), their uppercase
pairs are İ and I: cf. İstanbul, İzmir, Niğde, Ağrı, Iğdır, kapı
ring
x
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)◮ in Turkish i and ı are different characters ([i] and [W]), their uppercase
pairs are İ and I: cf. İstanbul, İzmir, Niğde, Ağrı, Iğdır, kapı
ring
x◮ Danish, Norwegian, Swedish, Walloon å is rounded
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)◮ in Turkish i and ı are different characters ([i] and [W]), their uppercase
pairs are İ and I: cf. İstanbul, İzmir, Niğde, Ağrı, Iğdır, kapı
ring
x◮ Danish, Norwegian, Swedish, Walloon å is rounded◮ Czech u developed from o
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diacritics one by one dot, ring
diacritics one by one
dot
x x.◮ Lith. e is long, Maltese c, g, ż and Pol. ż is palatal◮ in translitterations of Semitic scripts d. , t., z., s.
represents emphatic (pharyngealized) consonants◮ the tittle of lowercase i and j is taken off when these letters get an
upper diacritic: i→ ı→ î (not i)◮ in Turkish i and ı are different characters ([i] and [W]), their uppercase
pairs are İ and I: cf. İstanbul, İzmir, Niğde, Ağrı, Iğdır, kapı
ring
x◮ Danish, Norwegian, Swedish, Walloon å is rounded◮ Czech u developed from o◮ IPA i
˚, y marks voicelessness, in Indo-European studies,
syllabicity (note the position of the diacritic depending on the presenceof a descender)kz & szp (delg) typo/diacritics (8A) 11 / 18
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
s,
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
s,◮ Rumanian and Latvian have a similar diacritic, a comma:
s, t, and g‘ k, l, n,
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
s,◮ Rumanian and Latvian have a similar diacritic, a comma:
s, t, and g‘ k, l, n,◮ these are often replaced by a cedilla, but careful
typographers use a comma
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
s,◮ Rumanian and Latvian have a similar diacritic, a comma:
s, t, and g‘ k, l, n,◮ these are often replaced by a cedilla, but careful
typographers use a comma
ogonek
o
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diacritics one by one cedilla, comma, ogonek
diacritics one by one
cedilla
ç◮ developed in Spain from the lower part of a hand-written z
(Z) — hence the name (‘little zed’) — for “soft” c: e.g.,Barcelona→Barça
◮ in Turkish, Azerbaijani, etc. ç and ş occur (for [Ù S])
s,◮ Rumanian and Latvian have a similar diacritic, a comma:
s, t, and g‘ k, l, n,◮ these are often replaced by a cedilla, but careful
typographers use a comma
ogonek
o◮ Polish ą, ę and Lithuanian ą, ę, i, u represent historically
nasalized vowels; today they are simply long in Lithuanian,variably nasalized in Polish
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
bar or slash
ł Ł ð đ Ð ø Ø
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
bar or slash
ł Ł ð đ Ð ø Ø◮ ł is [w] in Polish (historically
coming from a dark l)
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
bar or slash
ł Ł ð đ Ð ø Ø◮ ł is [w] in Polish (historically
coming from a dark l)◮ in Icelandic and Faroese ð/Ð
represent [D] (Scandinavians were close when the IPA was developed)
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
bar or slash
ł Ł ð đ Ð ø Ø◮ ł is [w] in Polish (historically
coming from a dark l)◮ in Icelandic and Faroese ð/Ð
represent [D] (Scandinavians were close when the IPA was developed)◮ in Serbocroat đ/Ð is the voiced counterpart of ć ([dý])
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diacritics one by one tilde, bar
diacritics one by one
tilde or swung dash
x◮ developed from an abbreviation mark originally replacing
nasals: e.g., con→ cõ, later anything else: e.g., que→ q◮ in Portuguese ãe, ão, and õe stand for nasalized diphthongs◮ in Spanish, Galician, Basque ñ represents [ñ]◮ p stands for [
>kp] in scripts of Vanuatu, in Guaraní g is [N]
bar or slash
ł Ł ð đ Ð ø Ø◮ ł is [w] in Polish (historically
coming from a dark l)◮ in Icelandic and Faroese ð/Ð
represent [D] (Scandinavians were close when the IPA was developed)◮ in Serbocroat đ/Ð is the voiced counterpart of ć ([dý])◮ in Danish, Faroese, and Norwegian ø is [ø] (real close ,)
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W
� <A
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W
� >A
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W◮ hard aspiration appears on word-initial rho: û <R, soft+hard on
word-medial rho+rho: üû >R<R
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W◮ hard aspiration appears on word-initial rho: û <R, soft+hard on
word-medial rho+rho: üû >R<R
◮ iota subscriptum: ᾳ ῃ ῳ Αι Ηι Ωι
ø Ai
kz & szp (delg) typo/diacritics (8A) 14 / 18
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W◮ hard aspiration appears on word-initial rho: û <R, soft+hard on
word-medial rho+rho: üû >R<R
◮ iota subscriptum: ᾳ ῃ ῳ Αι Ηι Ωι◮ diaeresis: ϊ ϋ ¨Ι ¨Υ
kz & szp (delg) typo/diacritics (8A) 14 / 18
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W◮ hard aspiration appears on word-initial rho: û <R, soft+hard on
word-medial rho+rho: üû >R<R
◮ iota subscriptum: ᾳ ῃ ῳ Αι Ηι Ωι◮ diaeresis: ϊ ϋ ¨Ι ¨Υ
◮ they are on the second part of diphthongs: aÉ oÎ ai oÔ AÉ A<I OÍ O<U
kz & szp (delg) typo/diacritics (8A) 14 / 18
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Greek diacritics
Greek diacritics
diacritics on/before vowel letters (a e h i o u w A E H I O U W)
◮ there are four types:◮ accents (usually one in each word)
◮ acute: � è � ì Ô ¸ 'A 'E 'H 'I 'O 'U 'W◮ grave: � à � È ä Ì ° A `E `H `I `O `U `W◮ circumflex: a h i u w A ˜H ˜I ˜U ˜W (never e o ˜E ˜O)
◮ aspiration (every word-initial vowel letter has one or the other)◮ hard: � á � É å Í ± <A <E <H <I <O <U <W◮ soft: � â � Ê æ Î ² >A >E >H >I >O >U >W◮ hard aspiration appears on word-initial rho: û <R, soft+hard on
word-medial rho+rho: üû >R<R
◮ iota subscriptum: ᾳ ῃ ῳ Αι Ηι Ωι◮ diaeresis: ϊ ϋ ¨Ι ¨Υ
◮ they are on the second part of diphthongs: aÉ oÎ ai oÔ AÉ A<I OÍ O<U
◮ they can be combined: �Hikz & szp (delg) typo/diacritics (8A) 14 / 18
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Greek diacritics
the first seven lines of Homer’s IliadM¨nin �eide je� Phlhi�dew >Aqill¨o oÎlomènhn, ¡ mur�� >AqaioØ �lge� êjhke,poll� d� Êfj�mou yuq� ^�idi proòayen�r¸wn, aÎtoÌ dà ál¸ria teÜqe kÔnessinoÊwnoØs� te p�si, Diä d� âtele�eto boul ,âx oÝ d� t� prÀta diast thn âr�sante>Atre�dh te �nax �ndrÀn kaÈ dØo >AqilleÔ .kz & szp (delg) typo/diacritics (8A) 15 / 18
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diacritics in Arabic scripts
diacritics in Arabic scripts
short vowels may be rendered by diacritics
kz & szp (delg) typo/diacritics (8A) 16 / 18
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diacritics in Arabic scripts
diacritics in Arabic scripts
short vowels may be rendered by diacritics
individual consonants are often distinguished by diacritics
kz & szp (delg) typo/diacritics (8A) 16 / 18
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diacritics in Arabic scripts
more and more diacritics
kz & szp (delg) typo/diacritics (8A) 17 / 18
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diacritics in Arabic scripts
more and more diacritics
“Allahu akbar” — Allah is great
kz & szp (delg) typo/diacritics (8A) 17 / 18
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sample exam questions
sample exam questions
The following are names of diacritics. Which is the odd man out?
1. dieresis
2. trema
3. caron
4. umlaut
kz & szp (delg) typo/diacritics (8A) 18 / 18
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sample exam questions
sample exam questions
The following are names of diacritics. Which is the odd man out?
1. dieresis
2. trema
3. caron
4. umlaut
kz & szp (delg) typo/diacritics (8A) 18 / 18
![Page 93: BBN--ANG--183 Typography Lecture 8A: Diacriticsseas3.elte.hu/typo/08A-diacritics.pdf · BBN–ANG–183 Typography Lecture 8A: Diacritics Zoltán Kiss & Péter Szigetvári Dept of](https://reader031.vdocuments.mx/reader031/viewer/2022020302/5a9da5097f8b9a21688d4888/html5/thumbnails/93.jpg)
sample exam questions
sample exam questions
The following are names of diacritics. Which is the odd man out?
1. dieresis
2. trema
3. caron
4. umlaut
Which is the cedilla?
1. ç
2. ô
3. č
4. o
kz & szp (delg) typo/diacritics (8A) 18 / 18
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sample exam questions
sample exam questions
The following are names of diacritics. Which is the odd man out?
1. dieresis
2. trema
3. caron
4. umlaut
Which is the cedilla?
1. ç
2. ô
3. č
4. o
kz & szp (delg) typo/diacritics (8A) 18 / 18