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Vadi: Difference between revisions
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The gradual evolution of the litigants' usage of the Širkattarnaft indicate the authors had a conscious meta knowledge of the grammar of their language. They were quite aware from the beginning when they began their correspondence that the Minhast script could not reflect the complex phonological changes that occurred when various parts of speech interacted with one another. Think of Sorvin and Ero's ongoing correspondence as a dance: as new partners learning the steps of a new dance, they start out awkwardly, but with time and practice, their moves synchronize, and without further need to concentrate which steps to repeat and how to strategize the next move, they become a unified pair, their dance now becoming a fluid, effortlessly choreographed visual sensation. | The gradual evolution of the litigants' usage of the Širkattarnaft indicate the authors had a conscious meta knowledge of the grammar of their language. They were quite aware from the beginning when they began their correspondence that the Minhast script could not reflect the complex phonological changes that occurred when various parts of speech interacted with one another. Think of Sorvin and Ero's ongoing correspondence as a dance: as new partners learning the steps of a new dance, they start out awkwardly, but with time and practice, their moves synchronize, and without further need to concentrate which steps to repeat and how to strategize the next move, they become a unified pair, their dance now becoming a fluid, effortlessly choreographed visual sensation. | ||
Just like the dancers, Sorvin and Éro learn the Širkattarnaft and struggle to fit it with the phonology and morphophonotactics of their language during the Early Period. As time passes into the Middle Period, the idiosyncratic patterns of each writer gradually merge into a standard, one mutually and implicitly agreed upon. After all, the adversaries have learned each other's style, becoming adept and fluent in the other's use of the Širkattarnaft. By the Late Period, the use of the "gu" and "yu" characters gradually diminish, the authors now confident that the other can anticipate when a mutation occurs, and what type. "Gu" and "yu" become no longer necessary, as Sorvin and Éro have associated clitic, modifier, case, tense, and number with the appropriate mutation. In spite of their enmity, they had, perhaps unbeknownst to them, helped each other, teaching the other how to communicate in a script ill-fitted to their native language. They cooperated with each other, creating | Just like the dancers, Sorvin and Éro learn the Širkattarnaft and struggle to fit it with the phonology and morphophonotactics of their language during the Early Period. As time passes into the Middle Period, the idiosyncratic patterns of each writer gradually merge into a standard, one mutually and implicitly agreed upon. After all, the adversaries have learned each other's style, becoming adept and fluent in the other's use of the Širkattarnaft. By the Late Period, the use of the "gu" and "yu" characters gradually diminish, the authors now confident that the other can anticipate when a mutation occurs, and what type. "Gu" and "yu" become no longer necessary, as Sorvin and Éro have associated clitic, modifier, case, tense, and number with the appropriate mutation. In spite of their enmity, they had, perhaps unbeknownst to them, helped each other, teaching the other how to communicate in a script ill-fitted to their native language. They cooperated with each other, creating the system we use today for reconstructing the Vadi language.</blockquote> | ||
The ''gu'' character, per the Mutationists' stance, indicates fortition, whilst ''yu'' signals lenition. The types of lenition the Mutationists have identified are presented in the following table: | |||
{| class="bluetable lightbluebg" | {| class="bluetable lightbluebg" | ||
|+ '''Types of Mutations''' | |+ '''Types of Mutations''' | ||
| Line 283: | Line 284: | ||
| y -> d͡ʒ <br/> θ -> ð | | y -> d͡ʒ <br/> θ -> ð | ||
| m, p, b -> b | | m, p, b -> b | ||
|- | |||
! Eye | |||
| kulúri | |||
| kulun | |||
| -- | |||
|- | |||
! Ear | |||
| támika | |||
| taka | |||
| -- | |||
|- | |||
! Nose | |||
| -- | |||
| uvaz | |||
| uváza | |||
|- | |||
! Heart | |||
| -- | |||
| gilay | |||
| gilaya | |||
|- | |||
! Hair | |||
| varláka (Schumann)<br/>vajlák (Tashunka) | |||
| varlat (Schumann)<br/>vajlat (Tashunka) | |||
| -- | |||
|- | |||
! Lips | |||
| túnturi | |||
| tuntu | |||
| -- | |||
|- | |||
! Tongue | |||
| -- | |||
| nipáz | |||
| nipáza | |||
|- | |||
! Finger | |||
| patáka, patári | |||
| pata | |||
| -- | |||
|- | |||
! Hand | |||
| uzáka | |||
| uzap | |||
| -- | |||
|- | |||
! Testicle | |||
| vúlari/vúluka | |||
| vula | |||
| -- | |||
|- | |||
! Penis | |||
| niátari/niátak(a) | |||
| niat | |||
| niata | |||
|} | |||
Triggers for lenition and fortition include: | |||
{| class="bluetable lightbluebg" | |||
|+ '''Types of Mutations''' | |||
|- | |||
! Trigger | |||
! Mutation Type | |||
! Position | |||
|- | |||
! Genitive | |||
| Lenition | |||
| Final noun stem consonant preceding genitive marker ''=eva'' | |||
|- | |- | ||
! Eye | ! Eye | ||