#calque texte

[grugbe]

Comment gérer les textes avec exposants dans Clip Studio Paint

Ma méthode pour gérer les exposants dans Clip Studio Paint EX Illustrateur, auteur de BD, j’apprécie énormément Clip Studio Paint Ex, et son gestionnaire de texte qui offre une souplesse inégalée pour la gestion des textes (!) d’une BD dans un logiciel de dessin.Continue reading Untitled

[tanadrin]

medieval monks and accountants start using Italian millione ("one thousand" + augmentative suffix) to mean 10^6 by the 1200s; this spreads to other languages

Jehan Adam coins bymillion and trimillion to mean 10^12 and 10^18 in 1475

Nicolas Chuquet extends this scale up to nonyllion (10^54), with every step being another six orders of magnitude (million, byllion, tryllion, quadrillion, quyllion, sixlion, septyllion, ottylion, nonyllion) in 1484. Note that in this period, it was common to put the digit separator every six digits instead of every three.

Guillaume Budé refers to 10^9 as milliart in 1516, in a Latin text

But in 1549, Jacques Pelletier du Mans uses milliard to mean 10^12, citing Budé as a source

In the 1600s, people start putting digit separators every three digits. But some scientists and mathematicians define the numerical scale according to how digits are grouped, rather than the actual order of magnitude: thus, one billion becomes 10^9, one trillion becomes 10^12, etc, creating the short scale.

"Milliard" is eventually added to the long scale, meaning 10^9 (in keeping with Budé's usage); the first published example is from 1676

By 1729, the short-scale meaning of "billion" (10^9) has already crept into American usage

This is in keeping with French usage at the time: in 1762, the Académie Française dictionary cites billion as meaning 10^9.

By the early 19th century, France has almost completely converted to the short scale, and U.S. usage follows France; the long scale is referred to in some sources as "obsolete." But Britain is still using the long scale (and I assume Germany and most other European countries)

Over the course of the 20th century, the long scale begins to become more influential in France, presumably due to the influence of continental usage; while the short scale becomes more influential in Britain, presumably due to the influence of American English. Notably the SI system very specifically uses unique prefixes that are the same across languages, to prevent confusion!

In 1961, the French Government confirms that they're going to officially use the long scale from now on; in 1974, Britain officially switches over to the short scale, and many other English-speaking countries follow.

In 1975, the terms "short scale" and "long scale" are actually coined, by mathematician Geneviève Guitel.

One reason large number names could be so unstable for so long is, of course, that outside specialized usage they are rare, and were even more rare before modern science and large modern monetary amounts became commonplace points of discussion. Wikipedia says "milliard" wasn't common in German until 1923, when bank notes had to be overstamped during Weimar-era hyperinflation.

As it currently stands, English, Indonesian, Hebrew, Russian, Turkish, and most varieties of Arabic use the short scale; continental Europe and most varieties of Spanish outside Europe use the long scale. A few countries use both, usually in different languages, like South African English (short scale) and Afrikaans (long scale) or Canadian English (short scale) and Canadian French (long scale) . Puerto Rico uses the short scale in economic and technical usage, but the long scale in publications aimed at export.

Notably some languages use neither, having their own names for large numbers--South Asian languages have the Indian numbering system, and Bhutan, Cambodia, and various East Asian languages also have their own numbering systems. Greek, exceptionally, uses a native calque of the short scale rather than a borrowing.

[andthesunrisesagain]

Tuto : créer des lignes fluides

Version requise : Photoshop, pas besoin d'une version récente.

Durée de la video : 9.44min avec 3 techniques expliquées (vous avez les time-code dans les explications ci-dessous)

Infos : français et sous-titrée + tutoriel détaillé écrit ci-dessous. J'espère que la qualité ira, elle a été réduite quand j'ai fait le sous titrage :(

Si vous avez des questions ou si ça manque de clarté, n'hésitez pas !

Exemples de rendu (toutes les lignes) :

Aujourd’hui, je vous présente 3 techniques que j’utilise pour créer des lignes fluides, comme dessinées à la main, sur mes avatars. L’objectif est de vous montrer les différents outils utilisés - il y en a surement bien d’autres mais déjà, en voici 3 - pour que vous puissiez vous les approprier et les utiliser pour vos propres styles et graphisme !

(0 à 0.50s : introduction + je vous montre des avatars sur lesquels j'ai utilisés ces effets)

(0.50) Technique 1 : le pinceau

Avec l'outil pinceau, vous pouvez dessiner les effets et tracés que vous souhaitez ! Mais souvent, les tracés peuvent être un peu trop abrupts ou présentés des angles/cassures non voulues. 

Pour les éviter, ça se joue dans les réglages :

(1.18) Créer un calque vide pour pouvoir dessiner dessus et éviter de le faire directement sur une photo/image. Ainsi, vous pourrez plus facilement supprimer l’effet si à la fin vous n’aimez pas.

(1.40) Dans le panneau ds outils, choisir l’outil pinceau et dans les caractéristiques du pinceau, opter pour “pinceau arrondi net” 1 ou 2px d’épaisseur (pour qu’il soit assez fin), 100% dureté (pour qu’il ne soit pas flou). Dans le “flux”, choisissez 100% (ou un peu moins, le flux correspond à la pression de votre pinceau).  Dans le “lissage”, opter pour 80 à 100%. C’est le lissage qui va lisser (lol) votre courbe et la rende plus fluide. Si le lissage est à 0%, vous aurez des cassures dans votre courbe (voir à 3min le rendu)

(3.25) Dessiner la ligne voulue. Je vous montre plusieurs idées d'usages.

(4.40) Pour la couleur de votre ligne, vous pouvez soit la choisir dès le début soit ensuite lui appliquer un style à votre calque “incrustation de couleur” (l'icône fx dans le panneau “calques”)

Rendus exemple : la ligne fluide autour du texte ; la ligne qui contourne ; la vague ; les lignes qui entourent la photo centrale de Rachel. Mais vous pouvez aussi créer une silhouette de personnage, faire des effets “doodle” en changeant l’épaisseur du trait, entourer des mots...

(4.50) Technique 2 : le filtre “onde”

Effet plus hasardeux mais qui peut créer des rendus très cools et intéressants comme je vous montre sur l’avatar de Sydney Sweeney

(5.10) Créer une ligne avec l’outil “trait” + ou - grande - (à vous de faire vos tests) en 1 ou 2 px. Le rendu ne sera jamais pareil en fonction de la longueur, angle, l'épaisseur....

(5.24) Aller dans Filtre > Distorsion > Onde. Une fenêtre s’ouvre, choisir “convertir en objet dynamique”. Cela vous permet de revenir sur votre effet onde tant que vous le voulez alors que si vous choisissez "pixeliser", vous serez bloqué·e.

(5.32) Une fenêtre “effet onde” s’ouvre. On ne voit pas la ligne sur la prévisualisation de droite car on est sur un calque vierge (même si on peut changer ça en ajoutant avant un calque fond noir en dessus du calque ligne, puis en créant un objet dynamique en sélectionnant les 2 calques fond + ligne. Mais parfois, le hasard, c’est cool aha et j'avais du ma à expliquer à l'oral).

(5.50) S’amuser avec les différents réglages, en changeant les chiffres et appuyer sur “ok” pour voir le rendu ! Comme vous avez créé un calque dynamique, vous pouvez revenir sur votre effet en cliquant sur “Onde” où y'a un petit oeil à côté, apparu dans votre calque ;) 

(6.05 à 7.00) Vous pouvez mettre les mêmes chiffres que la vidéo pour débuter (générateur : 1 ; Longueur d'onde Min 47, max 60 ; Amplitude Min 51, Max 52 : Echelle 100% les deux) et ensuite, jouer sur chacun des réglages pour voir les rendus. C’est assez hasardeux mais j’aime beaucoup ce que ça créé : des épaisseurs différentes, + ou - de courbes... Parfois ça rend rien aussi !

Rendus exemple : les lignes sur les côtés du texte ; la ligne en diagonale de cette texture

(7.11) Technique 3 : la plume

Outil que j’utilise le moins sur Photoshop mais qui a le mérite de donner plus de contrôle au tracé, si on n’est pas à l’aise avec le pinceau et le dessiné à la main de la technique 1 !

(7.30) Définir le style de votre pinceau (nous on l’a déjà fait en amont mais il faut choisir son épaisseur, son style, sa dureté...)

(7.30) Créer un calque vide pour pouvoir créer votre tracé à la plume dessus.

(7.40) Choisir l’outil plume présent dans votre barre d’outils à gauche.

(7.45) La plume va créer différents points : en appuyant une fois, vous créer un point. Puis en mettant un autre point et en tenant appuyé votre curseur, vos pouvez créer des courbes grâces aux poignets. Créer le tracé que vous souhaitez. 

(8.30) Quand votre tracé est fait, clic droit dessus > Contour du tracé. Une fenêtre s’ouvre, choisir  “outil = pinceau” > Ok.

(8.50) Effacer le tracé plume en appuyant sur supp du clavier ou autre. Tadam votre tracé est bien là !

Rendus exemple : la ligne diagonal

Super outil sur la plume par Geoffrey creative lab sur youtube (sous-titré fr)

[hedgehog-moss]

Top 3 Annoying Translation Mistakes I’ve Read This Year (from least to most annoying):

Category I - lazy calques that let you feel the original text under the translation, not in a good way

(English -> French) In the French translation of Hugh Howey’s Sand (Outresable), the word “robe” at one point was mistranslated as... robe. Come on! In French that’s a dress, the English “robe” is what we call a robe de chambre. And it matters! The protagonist is knocking at his mother’s door and she opens it wearing a robe rather than clothes, which (in context) suggests that she was having sex; when you translate it as opening the door in a dress, the reader pictures her looking put together and wonders why her teenage son is feeling angrily embarrassed. Sure there will be more context clues in the rest of the paragraph, but your translation is not supposed to make it harder for the reader to form an accurate mental picture.

Category II - clunky sentences that make the text unpleasant or confusing to read

(I almost used the French translation of Julian Fellowes’ Past Imperfect as an example, but I suspect the original of being clunkily written as well. Still I gave a couple of examples of clumsy sentences at the end of my review that really should have been noticed and fixed.)

(Japanese -> French) Some sentences in the French translation of Masuji Ibuse’s 黒い雨 (Pluie noire) were so clumsy I had to re-read them several times, including the very first sentence. In English it is translated very neatly as: “For several years past, S. Shizuma had been aware of his niece Yasuko as a weight on his mind. What was worse, he had a presentiment that the weight was going to remain with him for still more years to come.”

In French we get this: “S. Shizuma avait depuis plusieurs années le cœur lourd au sujet de sa nièce Yasuko ; et pas seulement depuis plusieurs années, car il sentait bien que ce poids indicible doublerait, triplerait avec le temps.”

If the idea is that this past worry is likely to persist or worsen in the future, “et pas seulement depuis plusieurs années” is a confusing (and repetitive!) way of phrasing it. It suggests something that extends further into the past, not the future... In contrast, the Spanish translation uses the exact same “what was worse” phrasing as the English one: “Y, lo que era peor, tenía el presentimiento de que esta carga seguiría agobiándole indeciblemente aún durante muchos años.”

Another example (among many) where both the English and Spanish translations use the same simple phrasing while the French translator seems to get tangled up in her own syntax:

EN: “In the event, though, he proved to have shown more care than wisdom.”

SP: “Sea como sea, el caso es que demostró tener más prudencia que sabiduría.”

FR: “Or, ces doubles précautions avaient produit un effet en quelque sorte aussi stupide qu’elles avaient été avisées [...]” This character tried to do the wise / cautious thing and it resulted in something bad, I get it. But the English & Spanish translations are objectively neater and less syntactically muddled than “his double precautions produced an effect in some way as stupid as they had been wise.”

Category III (the worst) - mistranslations that actually influence the way the reader experiences the story or characters

(French -> English) The English translator of Valérie Perrin’s Trois (Three) seemed either confused by or not able to recognise a lot of French slang, which she translated literally. At one point the word “pisseuses”, a derogatory term for girls (yeah it comes from piss) is translated very literally as girls “who wet themselves.” It’s like if the English word “bitches” was translated as “female dogs” in another language where the term is neutral, instead of using a word with equivalent sexist connotations. The word ‘pisseuses’ here is part of a misogynistic character’s internal narration. He’s an adult man thinking of teenage girls as bitches; instead the inexplicable translation “girls who wet themselves” just leaves you baffled.

The same issue pops up again later on, when the same character thinks of an old woman as “la vieille bigote”—bigot means very religious in French, but here it’s not to be taken literally, it’s used as a generic derogatory term for an old woman. The English translation is “the pious old woman”—too literal ! It sounds almost respectful? Or at the very least neutral, when actually the male narrator is thinking of the woman as “this old hag.” Also their exchange had nothing at all to do with religion so you’re left confused as to how he came to think that she was pious.

It sounds like nitpicking but these are pretty big mistakes in that they not only make things confusing but also impact characterisation. You’re not supposed to turn a character’s negative thoughts into neutral ones. The translator does it again to a female character later on, this time with the opposite effect—making her less sympathetic. She is describing her life (married to a rich but controlling man) as “des vacances à perpétuité.” In English, her life becomes “a never-ending vacation”, thus erasing the very strong connotation of prison carried by the French phrase 'in perpetuity’. You could have found some phrasing around the idea of a “life sentence” maybe—we’re supposed to empathise with this character who consciously experiences her life as a gilded cage, and softening the phrase in the translation reduces the reader’s ability to do that by making it sound like this rich woman is just bored with her life of leisure. Sometimes even small mistranslations can end up having a significant impact on how the reader reacts to a story and its characters.

None of the above are awful translations if you take the book as a whole, but all four of these books are by best-selling authors so if they get so many poorly-translated words or sentences what hope is there for the rest...!

[icariebzh]

"Attraper un crayon, un bic, un marqueur. Tout fera l'affaire! Sortir calepin, cahier, carnet. Déchirer. Bout de nappe. Bout de carton. Ecrire. Jeter. Bout de texte. Bout de phrase. Beauté des patchworks. Beauté des mosaïques. Gribouillages frénétiques. Peur de perdre les images. Peur de perdre les échos. Geste. Robot. Ne pas perdre. Ne pas. Ne pas. Ecrire. Ecrire. Putains de points, putains de virgules. Faire sauter. Faire. Faire. Faire sauter. Ecrire. Ecrire. Accumulation gloutonne. Matière. Matière. Terreau.                                           -Ne jamais jeter de terreau à la poubelle- Liste des synonymes, liste des contraires, listes de mots qui riment, liste de termes en argot, listes de mythes, liste de monstres, liste des objets que l'on peut perdre dans le fond des océans, traduction en différentes langues de cette liste d'objets que l'on peut perdre dans le fond  des océans, liste des morts qui remontent à la surface des mémoires et qui demandent justice. Noircir, noircir. vin blanc. Ce n'est plus une histoire avec un début et une fin. Ce n'est pas encore un poème. Vin blanc. Ecrire, écrire. Et quand ça grippe, quand ça ralentit, quand ça rementalise, changer de support. Papier kraft, papier calque. Changer de format. Changer la taille des lettres. Changer, épaisseur des mines. Changer, couleur des encres. Vin blanc. Ecrire, écrire. Ratures, annotations, flèches. vin blanc. Grande récolte. vin blanc. Grande récolte de mots." Lisette Lombé "C'est le temps du vin blanc"

[jawnressources]

Toi aussi, tu veux une jolie balise TW ? Ouais vous savez, ce truc qui permet de cacher un texte mais pas vraiment; et qui aide à ne pas trigger les personnes concernées par les sujets concernés. Pour ça, on va juste utiliser un "hover", c'est à dire un truc qui se passe au passage de la souris sur un élément. Rien de bien difficile, on va juste suivre le petit tuto suivant. Mais avant tout, voilà ce que c'est censé donner avant :

Et au passage de la souris :

Voilà maintenant qu'on a le visuel, on va expliquer le truc. Quand vous voulez cacher un texte, vous allez le mettre sous cette balise : <tw></tw> Exemple : <tw>je suis un texte sous balise TW coucou</tw>

Maintenant que c'est fait, c'est bien joli mais il se passe rien ? Pas de panique ! Vous allez juste rajouter un petit quelque chose dans le CSS de votre forum (Panneau d'administration > Affichage > Images et Couleurs > Couleurs & CSS > l'onglet "feuille de style CSS") et vous allez ajouter n'importe où ceci : tw { transition: all 500ms; /**permet que la transition soit fluide**/ background: #ccc; padding: 2px; border-radius: 5px; /**l'arrondi du fond**/ position: relative; /**permet que ça passe par-dessus le texte**/ z-index: 99; /**ça c'est comme un calque Toshop, ça veut dire que ça va passer par-dessous tout le reste**/ color:#ccc; } tw:hover { transition:all 500ms; background:transparent; position:relative; }

Et voilà c'est tout. En gros, on a appliqué la même couleur de fond que la couleur du texte, ce qui rend le tout "invisible", dans le sens qu'on a un texte qui n'apparaît pas et une couleur visible pour montrer qu'il ne faut pas passer sa souris si on ne veut pas (on ne le répétera jamais assez, mais si y'a un trigger qui vous choque, ne lisez simplement pas sinon venez pas vous plaindre). Et quand on passe sa souris ? Le fond disparaît simplement pour laisser le texte en couleur derrière. Et voilà ! Une petite balise TW facile et rapide qui permet de pouvoir cacher ce qui doit l'être ! (merci de penser à me créditer au passage svp)

[kaibutsushidousha]

What’s the best way to translate “正義の味方” in your opinion? I always thought Ally of Justice was best since Heaven’s Feel talks about Allying with people a lot.

Simply "hero" is what works best for Concrete Revolutio since tokusatsu heroes are a central part of its imagery. Fate/stay night, however, can't afford this usage because the term "hero" needs to be saved for actual mythological heroes, so the solutions you see around are the thoughtlessly calqued "ally of justice", the clumsily appended "hero of justice", and "superhero" which works beautifully for the scenes meant to highlight the silliness of Shirou's unrealistic dream but feel detracting when used in his moment of triumphs. I probably used hero of justice in the Fem's Casa summaries, but those are not real translation, so recognizability takes priority over proper delivery. For a real translation, maybe I'd go with champion of justice, but I for the time being that's not my problem.

Now for the part that actually is my problem. Sagrada Reset. Ukawa's debut is coming relatively soon, so I would have to deliberate on seigi no mikata with our without this ask. This is likely to change once I get an actual feel of the text, but tentatively I'm thinking of going with superhero. Unlike Shirou, Ukawa is more consistently presented as highly unserious in her justice speeches. Champion of justice, or even paragon of virtue, are another really appealing options for Ukawa's over-the-top nature, but I feel like the single word superhero is a better for Kouno's minimalistic prose. Not to mention, virtue is already a semi-unrelated keyword in Sagrada Reset.

Those are the only cases I remember seigi no mikata being a recurring keyword. For everything else, the idiom appears as one-off lines, so my options will depend on the character and situation. Your average JP-EN dictionary already provides plenty of options, and if you're creative enough, you can find other fitting synonyms not mentioned there, like my previous "paragon of virtue" example.

[kkeunimopssii]

korean slang [part 1]

문찐 - culture loser, someone who is not interested in or does not know much about pop culture, new trends.

short for 문화찐따 = 문화(culture) + 찐따 (loser).

사진빨 - being very photogenic.

from 사진발, from 사진 (寫眞, photo) + 발 (lines, streaks).

엔조이 - enjoyment, casual romantic relationship.

네덕 - selfish, immature, and conceited fan or poster.

short for 네이버 ("Naver", main South Korean search engine and platform) + 덕후 (otaku, fan), originally because such people were most common on Naver's general blogs, rather than on more specialized platforms.

수포자 - someone who has given up on studying math (in school).

contraction of 수학 포기자.

솔크 - Christmas without a romantic partner.

of 솔로 solo + Christmas. Christmas is considered a romantic holiday in South Korea.

읽씹 - leaving a text or message on read, and not reply.

안읽씹 - intentionally leaving a text or message on unread.

ㄴㅇㅎ - being incomprehensible.

마자마자 - truetrue, yesyes.

호구 - an overly naive and submissive person; pushover.

sino-korean word from 虎口, from 虎 (“tiger”) + 口 (“mouth”). The "pushover" sense derives from the game of Go sense, implying someone who would be submissive enough to be willing to place their stone in such a position.

현자타임/현타 - (vulgar) post-nut clarity or (non-vulgar) a moment when one realizes that what one is doing is actually pointless, reality check.

현자(賢者) +‎ 타임, calque of Japanese 賢者タイム (“post-nut clarity”).

a non-vulgar reanalysis of the above as an abbreviation of 현실(現實) 자각(自覺) 타임 (“reality perception moment”). the new interpretation retains a metaphoric extension of the original meaning, but in a non-sexual way. many Koreans are not aware of the original etymology, and the word has appeared in TV programs for general audiences.

스포당하다 - to accidentally read spoilers (of a film, video game).

눈팅 - only read articles or posts without leaving any comment; lurking.

[strangestcase]

I can’t say I like how 99% of the Jekyll and Hyde tags is all about the same three adaptations (they’re not even ones I like, at that) or original content most of which is either calqued from those same adaptations or an incredibly uninteresting -to me- half-hearted attempt at retelling the original text (read: everything is the same but some characters are queer).

[garden-ghoul]

Happy Gushiwensday Shabbes! We have another Fan Chengda for you. This one is titled simply "Plums."

In the evening the sky clears and the wind subsides. Tonight, breaks the chill grip of spring. Blossoms tender beneath the gauzy sky, clouds that come and go, snow blooming on the ends of branches-- this beauty is fierce, but so is the dread. Who can I tell these feelings to? Only two lines of low-flying geese know I'm leaning on the balcony, staring up at the moon.

Notes and original text under the cut.

霜天晓角·梅

晚晴风歇。一夜春威折。脉脉花疏天淡，云来去、数枝雪。 胜绝。愁亦绝。此情谁共说。惟有两行低雁，知人倚、画楼月

This one was a bit tricky because Fan Chengda's grammar here is... eccentric? He's using a lot of words in non-obvious ways.

breaks the chill grip --- Okay I'm not using "English grammar" here. It's a calque of "s'brokht der kalter onhalt." Sue me. I don't like spring getting in between the chill grip and the breaking thereof. Anyway the word I translated as chill grip is 威 power or force, which rules.

tender --- 脉脉, a rather curious duplication where the individual character seems to mean nothing. Repeated, it means affectionate or emotional.

gauzy sky --- the sky is 淡 mild or light-colored. I know 疏 thin probably refers to the blossoms, as Laurence has translated it, but I rolled that into "gauzy" as well.

snow blooming --- 数枝雪 could mean maybe "I count the branches as snow."

the beauty is fierce --- 胜 is a striking word--its most common definitions are related to triumph or [military] victory, but it also seems to work as an intensifier. 绝 is also an intensifier, meaning utmost or absolute. It's repeated to characterize both the beautiful scenery and the anxiety/fear.

[tsikli]

Ðusyþ word of the day #375

etlô (to go on instinct)

/e.ˈt͡ɬɔ/ [e.ˈḏ͡ɮ̱ɔː]* 〈eiḍrʌ〉

*Standard dialect. Alternate form: edrô /ed.ʀɔ/

Etymology

From Old Ðusyþ eiḍrʌ 'to go on instinct', likely a clipping or derivative of eiḍrʌʔoo, eiḍroo 'instinct, inner desire', from eiḍ "to follow, to listen to" + r(ʌ) "heart, mind, soul" + oo (NOMZ). First documented in texts from the -300s. A similar calque is found in Ahmic addåkhh (adë "follow" + dåkhh "psyche".

An alternate construction which may have been preferred back then was eiḍwętoo with -węt "mind" as the mind was originally conceived as the harbourer of the soul, but soon the harbouer of the soul was moved to the confluence between heart and mind.

eiḍwętoo and eiḍrʌʔoo are both now archaic and not used.

Definition

v.

to go on one's instinct, to go on impulse; (with -xþ) On instinct, I would instinctually...

etlôwejaijx qöds ek y'ikl rels, ej ekmi ðuwf. go_on_instinct-GNO-3PL animal and beast only but COP-NEG dwarf Animals and beasts go on instinct, but not people.

etlôxþ, ïbzu'rejklaqkej qyngôqeng. go_on_instinct-CON.while escape-AUG-1SG-IRR ABL-bad_place Instinctually, I would get the hell out of there.

2. to follow one's heart, to chase one's passions

etlô'ik ruqngöl'lletf. follow_passion-FTR-1SG COP.FTR-INCMPL-1SG-sing-DV.AG I'll follow my passions and become a singer.

3. (of an inanimate object) to move automatically; (of a person, rare) to be at the whims of someone else

etlô eilli nyð move_automatically REL door "automatic door"

[conlangprompts]

When creating a conlang for a future civilisation, consider what texts from our time may have survived until then. Has a calque of "this place is not a place of honour" taken on an idiomatic meaning in the language of 50,000 AD? Has "place" become a generic term for a midden?

.

[kimilycof]

REVIEWER

SETTING

A literary element of literature used in novels, short stories, plays, films, etc., and usually introduces the when and where of the story during the exposition (beginning).

DIALOGUE

An interchange of conversation of the characters whether in a movie or a play

FORESHADOWING

It is where the author suggests future events in a story, or outcome, before they happen or take place.

A literary device in which a writer gives an advance hint of what is to come later in the story.

RISING ACTION

This is when the main character is in crisis and the conflict begins to unfold.

1ST PERSON POINT OF VIEW

A type of Point of View (POV) that is usually identifiable using the pronoun "I".

PROTAGONIST

The main character, who creates the action of the plot and is often a hero or heroine of the story

PERSONIFICATION

When inanimate objects or abstract concepts are given or provided with human self-awareness or characteristics.

SETTING

EXAMPLE (One morning, from a bushy forest, a wounded came out and was seen by Ella)

CONFLICT

EXAMPLE (Her father was killed in an accident, and she was left with her evil stepmother)

ANTAGONIST

EXAMPLE (Her stepmother was a wicked witch, and she always makes her life miserable.)

THEME

EXAMPLE The story is about the importance of self-love and adventure

CONFIDANTE

EXAMPLE Benedict was his best friend. He tells him even his deepest secrets

ALLITERATION

The repetition of consonant sounds in succeeding words within the same sentence or line.

HYPERBOLE

An exaggerated description of an idea or action

METAPHOR

Applying a direct relationship to an object or idea as a substitute for another.

OXYMORON

An idea of contradicting terms

PARALLELISM

It is the use of identical language, events, structures, or ideas in different parts of a text.

SYMBOLISM

It's when objects or images are used to represent abstract ideas. It could be something tangible or visible, while the idea it's trying to symbolize is something abstract or universal.

IRONY

An absurd or mocking opposition to what is expected or appropriate.

TRANSLATION

It is the process of translating words or text from one language to another.

TEXTUALITY

This refers to all attributes that distinguish the communicative content under analysis as an object of study

PARODY

It is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts

Julia Kristeva

originated the theory of intertextuality

Latent Intertextuality

It pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world.

INTERTEXTUALITY

It is the author's borrowing and transformation of a prior text or to a reader's referencing of one text in reading another.

PASTICHE

It imitates the style or character of the work of one or more other artists.

QUOTATION

A written form of the oral echo. It can be in tagged or untagged form.

CALQUE

It means to borrow a word or phrase from another language while translating it components so as to create a new lexeme.

CONNOTATION

refers to the additional meaning or emotion that a word cames beyond its literal definition. It includes the associations, feelings, or implications that people may have about a word based on their cultural, social, or personal experiences

POSITIVE CONNOTATIONS

generally evoke favorable or desirable qualities

•Full-figured

•Amazing

•Innovative

•Original

•Playful

NEGATIVE CONNOTATIONS

typically convey unfavorable or undesirable traits.

•Lie

•Radical

•Childish

•Arrogance

•Prison

[justkatrinadavid]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It 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.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[legend-collection]

En/Enji

*En or *Enji is a reconstructed name of the fire god in the Albanian pagan mythology, which has continued to be used in the Albanian language to refer to Thursday (e enjte).

Pic by William Blake Richmond

The deity to whom Thursday was dedicated in Albanian is considered to have been worshiped by the Illyrians in antiquity and he may have been the most prominent god of the Albanian pantheon in Roman times by interpreting Jupiter, when week-day names were formed in the Albanian language. The belief in a prominent fire god, who was referred to as I Verbti ("the blind one"), and who was often regarded more powerful than the Christian God, survived in northern Albania until recent times. Under Christianization the god of fire was demonized and considered a false god, and it was spread about that anyone who invoked him would be blinded by fire.

In Albanian tradition the divinised fire is regarded as the Sun's offspring (pjella e Diellit), which is symbolized by the fire hearth (vatra e zjarrit).

The root of the name of the Albanian deity is thought to be found in antiquity in the Pannonian-Illyrian area, as well as in Messapia/Iapygia in southern Italy such as Ennius, interpreted as a theophoric name: "the one dedicated to En". Other examples with the same root and with the suffix -c (-k) are Enica, Enicus, Enicenius, and with the suffix -n are Eninna, Ennenia, and the short forms Enna and Enno. Compounds of the divine name En are Enoclia "En, the famous", and Malennius containing the Albanian term mal "mountain", interpreted as "the one dedicated to En of/from the mountain".

In his work Speculum Confessionis (1621) Pjetër Budi recorded the Albanian term tegnietenee madhe for the observance of Maundy Thursday. In his Latin-Albanian dictionary (Dictionarium latino-epiroticum, 1635), Frang Bardhi recorded dita ehegnete as the Albanian translation of Latin dies Iovis. In 1820, the French scholar François Pouqueville recorded two old Albanian terms: e igniete and e en-gnitia. In 1879 Albanian scholar and language master Kostandin Kristoforidhi translated Zeus / Δία of the original Greek text with the Albanian Ἒνετε Enete, and Hermes / Ἑρμῆν with the Albanian Μερκούρ Merkur.

Modern dialectal variations of "Thursday" include: Gheg Albanian: e êjte, e ẽjtë; Tosk Albanian: e enjtë; Arbëreshë Albanian: e ègn'te, e énjite, e ente, e engjte, e ínjte.

The names of week days in Albanian are calques of Latin names. Since enjte appears to be the Albanian translation of Latin Iovis diem ('Day of Jove'), the god Enj- or En(ni) of the early Albanian pantheon may have been seen as the equivalent of Roman Jupiter.

The Albanian term enjte ('Thurday') is considered to be a te-adjective presumably descending from the Proto-Albanian stem *agni-, ultimately from *h₁n̥gʷnis, the archaic Proto-Indo-European word for 'fire' as an active force.

According to scholar Karl Treimer, Illyrians worshiped a fire god named *Enji, related to the Vedic fire god Agni, and descending from the stem *H₁n̥gʷnis, the Proto-Indo-European divinised fire. In the Illyrian pantheon the fire deity would have expanded his function considerably, therefore ousting the cosmic-heavenly deity, becoming the most distinguished Illyrian god in Roman times at the time when the weekday names were formed in the Albanian language. In this view the Latin Jovis dies was equated to the Illyrian fire god Enj rather than to the Illyrian Sky father, thought to have been Zot, from Proto-Albanian *dźie̅u ̊ *a(t)t (a cognate of PIE *Dyḗus ph2tḗr). With the coming of Christianity, En would have been demoted to demonic status, although his name has been preserved in the Albanian language to refer to Thursday.

The cult of the mystic fire and the fire ritual practices played an important role in the lives of the pre-industrial Albanian people.

Strong beliefs in the demon of fire have persisted among Albanians until today. The belief in a fire god, who was referred to as I Verbti ("the blind one"), survived in northern Albania until recent times. Under Christianization this deity was demonized and considered a false god, and it was spread about that anyone who invoked him would be blinded by fire. However, in folk beliefs the god I Verbti was often considered more powerful than the Christian God. The struggle between the old and the new god and the former predominant popularity of I Verbti among Albanians is expressed in a tale narrated from a Christian point of view. The purifying power of fire underlies the popular idea according to which the god I Verbti is the enemy of uncleanliness and the opponent of filth.

In Albanian tradition fire itself is worshiped as a deity, and it is regarded as the Sun's offspring (pjella e Diellit), which is symbolized by the fire hearth (vatra e zjarrit). The place of the ignition of fire is traditionally built in the center of the house and of circular shape representing the Sun. Traditionally the fire of the hearth, zjarri i vatrës, is identified with the existence of the family and its extinguishing is considered a bad omen for the family. The fire of the domestic hearth holds divine attributes in folk beliefs, being considered the sustainer of the continuity between the world of the living and that of the dead, and ensuring the continuity of the tribe from generation to generation.

Rose Wilder Lane (1923) provided the following description regarding the northern Albanian fire cult:

The bride carries with her from her home one invariable gift—a pair of fire tongs. When she arrives at her husband's house she takes a humble place in the corner, standing, her hands folded on her breast, her eyes downcast, and for three days and nights she is required to remain in that position... this custom remains from the old days when the father of each house was also the priestly guardian of the fire, and anyone coming to ask for a light from it stood reverently in that position, silent, before the hearth, until the father priest gave it to him. The bride, newcomer in the family, is a suppliant for the gift of fire, of life, of the mystery that continues the race.

[oleworm]

Don't know how to make a cut on mobile but I'm still thinking about yesterday and the other day when we were talking about Hickey and my friend was laughing awkwardly about him always trying to find an angle with people and thinking he is so smart but making impulsive decisions that make sense immediately but not in the long term and I got upset and told them, "You're laughing at him for acting like someone who was abused as a child 😔" I know not everyone acts like that and it's not spelled out in the text, not in such words, but you can certainly tell his childhood wasn't happy and there were many things he lacked at the very least. And regardless of whatever problems he created for himself as an adult the fantasy of running away and changing your name so nobody knows who you used to be... The stealing. Ehhhhhhhhhh it does not detract from this interpretation. It doesn't not fit, if that makes sense. We were also discussing how if he wanted to go somewhere else he could have let himself be arrested and sent to Australia but then people would know who he was and whatever it is he did. There is a wounded quality to this character who tries to act as if he isn't. Tries to appear self-sufficient and grasps for power over others. The punishment as a boy situation is one where he tried to take control of his circumstances but then had to allow a horrible thing to happen to him (again?) and since they're stuck on the ships there's nowhere else to go. But after it he confirms that he cannot trust or rely on figures invested with authority, probably in a calque of whatever institution he was in before, whether the prison or the workhouse or the abusive home before that. Those who get out of it with their skins are those who rely on themselves and turn to each other, not to authority. Their moral and legal codes are nothing to you if they apply them with such brutality. I'm thinking perhaps he allowed himself to relax and imagine this place to be different when Irving let him off so quickly and without asking for a "favour" himself. Ah. Now I must get back to work. ⚒