Susanne Marin November 21, 2019 Alphabet
The two Canaanite branches may be subdivided into several secondary branches. First, Early Hebrew had three secondary branches—Moabite, Edomite, and Ammonite—and two offshoots—the script of Jewish coins and the Samaritan script, still in use today for liturgical purposes only. Second, Phoenician can be divided into Phoenician proper and “colonial” Phoenician. Out of the latter developed the Punic and neo-Punic scripts and probably also the Libyan and Iberian scripts.
If the signs’ external form (which, it must be emphasized, had no particular significance) is ignored and only their phonetic value, number, and order are considered, the modern Hebrew alphabet may be regarded as a continuation of the original alphabet created more than 3,500 years ago. The Hebrew order of the letters seems to be the oldest. The earliest evidence that the Hebrew alphabet was learned systematically was left in the form of a schoolboy’s scribbling on the vertical face of the upper step of a staircase leading up to the palace at Tel Lakhish, in southern Israel.
Thus the primary classification of alphabets reflects how they treat vowels. For tonal languages, further classification can be based on their treatment of tone, though names do not yet exist to distinguish the various types. Some alphabets disregard tone entirely, especially when it does not carry a heavy functional load, as in Somali and many other languages of Africa and the Americas. Such scripts are to tone what abrades are to vowels. Most commonly, tones are indicated with diacritics, the way vowels are treated in abundances. This is the case for Vietnamese (a true alphabet) and Thai (an abugida). In Thai, tone is determined primarily by the choice of consonant, with diacritics for disambiguation. In the Pollard script, an abugida, vowels are indicated by diacritics, but the placement of the diacritic relative to the consonant is modified to indicate the tone. More rarely, a script may have separate letters for tones, as is the case for Hmong and Zhuang. For most of these scripts, regardless of whether letters or diacritics are used, the most common tone is not marked, just as the most common vowel is not marked in Indic abugidas; in Zhuyin not only is one of the tones unmarked, but there is a diacritic to indicate lack of tone, like the virama of Indic.
The names were abandoned in Latin, which instead referred to the letters by adding a vowel (usually e) before or after the consonant; the two exceptions were Y and Z, which were borrowed from the Greek alphabet rather than Etruscan, and were known as Y Graeca ”Greek Y” (pronounced I Graeca ”Greek I”) and zeta (from Greek)—this discrepancy was inherited by many European languages, as in the term zed for Z in all forms of English other than American English. Over time names sometimes shifted or were added, as in double U for W (”double V” in French), the English name for Y, and American zee for Z. Comparing names in English and French gives a clear reflection of the Great Vowel Shift: A, B, C and D are pronounced, but in contemporary French they are /a, be, se, de/. The French names (from which the English names are derived) preserve the qualities of the English vowels from before the Great Vowel Shift. By contrast, the names of F, L, M, N and S remain the same in both languages, because ”short” vowels were largely unaffected by the Shift.
In default of other direct evidence, it is reasonable to suppose that the actual prototype of the alphabet was not very different from the writing of the earliest North Semitic inscriptions now extant, which belong to the last two or three centuries of the 2nd millennium bce. The North Semitic alphabet was so constant for many centuries that it is impossible to think that there had been any material changes in the preceding two to three centuries. Moreover, the North Semitic languages, based as they are on a consonant root (i.e., a system in which the vowels serve mainly to indicate grammatical or similar changes), were clearly suitable for the creation of a consonant alphabet.
set of graphs, or characters, used to represent the phonemic structure of a language. In most alphabets the characters are arranged in a definite order, or sequence (e.g., A, B, C, etc.).
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