A61.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.
Inglish Site.61.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
203.Barsoomian.
204.Mars in culture.
205.Martian missives.
*
203.Barsoomian.
Barsoomian is the constructed language of the fictional Barsoomians, the sapient humanoid inhabitants of Mars in the Barsoom series of novels by Edgar Rice Burroughs. It was developed from Burroughs' examples and descriptions by Paul Frommer for the 2012 film John Carter of Mars; Frommer also created the Na?vi language for Avatar.
Spoken Barsoomian has mostly lexical words, with the equivalent of grammatical words such as prepositions and pronouns conveyed telepathically. There are few inflections, and word order is fixed to verb?subject?object. Possession is indicated by juxtaposing the object with the possessor, as in Malay. There is a word that makes direct object definite, as in Hebrew. The vocabulary is relatively simple, with little poetic language.
Some inflection is found in the pronouns. For the object, the initial consonant is suffixed: tu "I", tut "me"; ki "he", kik "him". To form the plural, the consonants are voiced: du "we", dud "us", gi "they".
The effect of the language is staccato. There are ten vowels, five long and five short, transcribed short a e i o u and long aa ey ee oa oo; diphthongs are ao (as in how) and ay (as in high). Consonants are similar to English (b d j g, p t tj k, v z, f th s h, r l, m n, w y), with the addition of the velar fricatives ch [x] and gh [?]. Consonants, both voiced and unvoiced, may also be long or short.
In the books it is mentioned that Barsoomian is the only language spoken on the entire planet of Barsoom. Therefore there never are any language barriers between different people from Barsoom, no matter what country or city on the planet they originate from. Written versions of Barsoomian however can differ greatly between different cities.
John Carter: Inventing New Language
March 3, 2012 by EmanuelLevy Leave a Comment
The actors playing Tharks also had to learn the Tharkian language and accent, which was developed for them based on the writings of Edgar Rice Burroughs by Dr. Paul Frommer, professor emeritus of Clinical Management Communication at the University of Southern California?s Marshall School of Business. Frommer, whose doctorate is in linguistics, also developed the language in ?Avatar.?
Frommer?s guiding principle in developing the Thark language in ?John Carter? was that unless there was a good reason not to, he would make the Thark language as consistent as possible with Edgar Rice Burroughs? writings in order to respect the fan base and help give the language consistency and integrity.
Frommer went through John Flint Roy?s ?A Guide to Barsoom? and entered each Barsoomian word he found there into a database. The 420 words Burroughs had invented were mainly character and place names, but there were also a few measurement terms, numbers, plant names, etc. Frommer?s goal was to discover all the sounds and sound combinations Edgar Rice Burroughs had used, which would form the basis of the sound system of the language.
Creating that sound system was the first order of business for Frommer. ?I had to decide what sounds are in the language, what sounds are not in the language and what sort of combinations of sounds existed,? he says. ?I discussed my ideas with Andrew Stanton and then I sent Andrew and Colin Wilson producer some sound samples, which were certain ideas for how the language might sound, consistent with the spelling that Burroughs had come up with.?
As there was virtually no grammar and thus no rules, Frommer had to determine the grammar on his own. He decided it should be simple?no complex verb conjugations, no case endings on nouns?with grammatical relations determined by word order, as in English, and words mostly in their basic forms without alteration.
The idea of simplicity came from a line in ?A Princess of Mars? at the end of Chapter VII, which John Carter says in narration: ?The Martian language . . . is extremely simple, and in a week I could make all my wants known and understand nearly everything that was said to me.?
An example of one important grammatical element that Frommer had to figure out was the basic word order in sentences, since there were no full sentences in the books to use as examples, except for one simple command. He explains, ?The three basic elements of a sentence are subject, object and verb. There are six possible permutations of those. Some of these are extremely common in human languages and some are not. I decided on a verb-initial sequence: verb, subject, object. So basically, an English sentence like ?I see the house,? comes out in Barsoomian as ?See I the house.??
Dialogue coach Roisin Carty was brought on the ?John Carter? production to help the actors learn the language. In order to assist her, Frommer wrote out the dialogue in both English and the constructed language and provided a phonetic guide and recorded sound files to help the actors with pronunciation.
Carty, who previously worked on the ?Lord of the Rings? films to develop the Elvish language, notes distinct differences between the two created languages: ?Tolkien based his Elvish dialect on the Welsh language. It is very lyrical and light in quality. The Thark language is quite staccato and earthy, with thumped consonants.?
Describing how the actors approached learning the language, Carty recalls, ?At Thark camp, before the film started shooting, the actors worked as a group and practiced their lines in a circle. They would copy each other and influence each other, and they shared ideas.?
Carty also worked with the actors individually on their Thark language skills. ?Willem Dafoe,who plays Tars Tarkas, speaks the most Thark, Doubled consonants are held longer: Jeddak, lekkad, ebbok, skarrus short vowels: a, e, i, o, u Long vowels: aa, ey, ee, oa, oo
In the examples in the next text box, underlined syllables are stressed. and he?s learned all of it very well,? Carty comments. ?We went through the scenes speaking Thark to one another and we really began to communicate in the language. It was amazing.
Samantha Morton and Polly Walker also really brought it to life. That?s the sign of a good actor!?
Frommer feels that constructed language in film is here to stay and that it adds another dimension to the movie for the audience. ?It adds a sense of reality, an extra dimension of reality. Not that a listener is going to understand what the sentence means and understand what every word means, but there is a sort of consistency, which I think comes across almost unconsciously. If it were gibberish, somehow it probably would not feel as real to an audience as if it were a really consistent, constructed language.
?In any event, ever since Klingon in ?Star Trek,? it?s became sort of expected that if there is a language to any extent in the science fiction enterprise, it?s going to be a language that is actually a language,? Frommer continues. ?So after Klingon you had the languages of ?Lord of the Rings,? which Tolkien had come up with, which are very wellconstructed
languages, and then there was Na?vi in ?Avatar.? And now, more recently, there is Dothraki, which is the language of ?Game of Thrones.? By and large, any sort of language for science fiction that?s going to have any sort of major role is going to be well constructed from here on in, I think.?
Pronunciation Key.
ch as in Bach, Chanukah (scrapey sound)
gh no equivalent in English. Scrapey sound,
but voiced. Something like ?Parisian r.?
th as in thin, NOT as in then
tj Represents the ch sound in church, chin
x Always like ks, even at the beginning of
a word: xamad ( = ksamad), xan ( = ksan)
ao Represents the ow sound in cow
ay Represents the sound in eye, my, pie, sigh
ey as in they
The actors playing Tharks also had to learn the Tharkian language and accent, which was developed for them based on the writings of Edgar Rice Burroughs by Dr. Paul Frommer, professor emeritus of Clinical Management Communication at the University of Southern California?s Marshall School of Business. Frommer, whose doctorate is in linguistics, also developed the language in ?Avatar.?
Frommer?s guiding principle in developing the Thark language in ?John Carter? was that unless there was a good reason not to, he would make the Thark language as consistent as possible with Edgar Rice Burroughs? writings in order to respect the fan base and help give the language consistency and integrity.
Frommer went through John Flint Roy?s ?A Guide to
Barsoom? and entered each Barsoomian word he found there into a database.
The 420 words Burroughs had invented were mainly character and place names, but there were also a few measurement terms, numbers, plant names, etc. Frommer?s goal was to discover all the sounds and sound combinations Edgar Rice Burroughs had used, which would form the basis of the sound system of the language.
Creating that sound system was the first order of business for Frommer. ?I had to decide what sounds are in the language, what sounds are not in the language and what sort of combinations of sounds existed,? he says. ?I discussed my ideas with Andrew Stanton and then I sent Andrew and Colin Wilson producer some sound samples, which were certain ideas for how the language might sound, consistent with the spelling that Burroughs had come up with.?
As there was virtually no grammar and thus no rules, Frommer had to determine the grammar on his own. He decided it should be simple?no complex verb conjugations, no case endings on nouns?with grammatical relations determined by word order, as
in English, and words mostly in their basic forms without alteration.
The idea of simplicity came from a line in ?A Princess of Mars? at the end of Chapter VII, which John Carter says in narration: ?The Martian language . . . is extremely simple, and in a week I could
make all my wants known and understand nearly everything that was said to me.?
An example of one important grammatical element that Frommer had to figure out was the basic word order in sentences, since there were no full sentences in the books to use as examples, except for one simple command. He explains, ?The three basic elements of a sentence are subject, object and verb. There are six possible permutations of those. Some of these are extremely common in human languages and some are not. I decided on a verb-initial sequence: verb, subject, object. So basically, an English sentence like ?I see the house,? comes out in Barsoomian as ?See I the house.??
Dialogue coach Roisin Carty was brought on the ?John Carter? production to help the actors learn the language. In order to assist her, Frommer wrote out the dialogue in both English and the constructed language and provided a phonetic guide and recorded
sound files to help the actors with pronunciation.
Carty, who previously worked on the ?Lord of the Rings? films to develop the Elvish language, notes distinct differences between the two created languages: ?Tolkien based his Elvish dialect on the Welsh language. It is very lyrical and light in quality. The Thark language is quite staccato and earthy, with thumped consonants.?
Describing how the actors approached learning
the language, Carty recalls, ?At Thark camp,
before the film started shooting, the actors
worked as a group and practiced their lines
in a circle. They would copy each other and
influence each other, and they shared ideas.?
Carty also worked with the actors individually
on their Thark language skills. ?Willem Dafoe,
who plays Tars Tarkas, speaks the most Thark
Doubled consonants are held longer: Jeddak, lekkad, ebbok, skarrus short vowels: a, e, i, o, u Long vowels: aa, ey, ee, oa, oo
In the examples in the next text box, underlined syllables are stressed. and he?s learned all of it very well,? Carty comments. ?We went through the scenes speaking Thark to one another and we really began to communicate in the language. It was amazing.
Samantha Morton and Polly Walker also really
brought it to life. That?s the sign of a good actor!?
Frommer feels that constructed language in film is here to stay and that it adds another dimension to the movie for the audience. ?It adds a sense of reality, an extra dimension of reality. Not that a listener is going to understand what the sentence means and understand what every word means, but there is a sort of consistency, which I think comes across almost unconsciously. If it were gibberish, somehow it probably would not feel as real to an audience as if it
were a really consistent, constructed language.
?In any event, ever since Klingon in ?Star Trek,? it?s became sort of expected that if there is a language to any extent in the science fiction enterprise, it?s going to be a language that is actually a language,? Frommer continues. ?So after Klingon you had the languages of ?Lord of the Rings,? which Tolkien had come up with, which are very wellconstructed
languages, and then there was Na?vi in ?Avatar.? And now, more recently, there is Dothraki, which is the
language of ?Game of Thrones.? By and large, any sort of language for science fiction that?s going to have any sort of major role is going to be well constructed from here on in, I think.?
Pronunciation Key.
ch as in Bach, Chanukah (scrapey sound)
gh no equivalent in English. Scrapey sound,
but voiced. Something like ?Parisian r.?
th as in thin, NOT as in then
tj Represents the ch sound in church, chin
x Always like ks, even at the beginning of
a word: xamad ( = ksamad), xan ( = ksan)
ao Represents the ow sound in cow
ay Represents the sound in eye, my, pie, sigh
ey as in they
According to ERB, we have on Barsoom the sofad, ad, haad, and karad measurements with the following relationships:
10 sofad = 1 ad
200 ad = 1 haad
100 haad = 1 karad = 1 degree of Barsoomian longitude
360 karad = circumference of Barsoom at the equator
So, the ad is the basic unit of measurement. This means the prefixes sof, ha, and kar must impart some meaning to the basic term ad. Judging by my previous post, it doesn?t appear that these three are numerical. It would seem strange (even for Barsoom) for sof to mean something like ?1/10?. Unfortunately, sof does not appear in any other Barsoomian name. On the other hand, both ha and kar do appear: Haja (princess of Gathol), Tor Hatan (Odwar of the
91st Umak), Okar (a city), Kar Komak (odwar of Lothar), Torkar Bar (Kaolian noble). How do reconcile these different uses? My suggestion: sof means something like ?small, minor, lesser? and ha ?bigger, major, greater?. Kar, on the other hand, since it refers to measurement ?around? the planet could mean something like ?long, lengthy, extended? and by extension in the vertical plane ?tall, high?. I could even go so far as to say that kar is the final comparative degree: ?biggest, greatest?. You may remember we also had -dak (< jeddak) and -dara (< jeddara) as superlative markers. A better term for these two might be an augmentative (i.e., the opposite of the ?-y? or ?-ie? in names like ?Tommy? and ?Susie?). This would give us degrees of comparison (smaller, original, bigger). That means then that we have:
sof ?small?
ha ?bigger?
kar ?biggest?
We could even use these in the opposite direction and get:
sof ?small?
hasof ?smaller?
karsof ?smallest?
I could see Kar Komak?s first name meaning something like ?The High? (as in ?your highness?). Sure, why not? We?re also saying that modifiers come after the word they modify. So?
Calot ha dar phai karsof jeddak ?[The] larger calot guards [the] jeddak?s youngest (i.e., smallest) daughter?
Darseen sof banth ?[A] darseen [is] smaller [than a] banth?
And finally?
John Carter sof Tars Tarkas than-dak ?John Carter [is] smaller [than] Tars Tarkas, [but he is a] great fighter? (Once again, taking advantage of the telepathic component of Barsoomian)
*
204.Mars in culture.
For example, the planet Mars is named after the Roman god of war Mars. In Babylonian astronomy, the planet was named after Nergal, their deity of fire, war, and destruction, most likely due to the planet's reddish appearance. Whether the Greeks equated Nergal with their god of war, Ares, or whether both drew from a more ancient association is unclear. In the age of Plato, the Greeks called the planet ????? ????? (Areos aster), or "star of Ares". Following the identification of Ares and Mars, it was translated into Latin as stella Martis, or "star of Mars", or simply Mars. The Hellenistic Greeks also called the planet ??????? Pyroeis, meaning "fiery".
In the Skanda Purana, a Hindu religious text, Mars is known as the deity Mangala and was born from the sweat of Shiva. The planet is called Angaraka in Sanskrit, after the celibate god of war who possesses the signs of Aries and Scorpio, and teaches the occult sciences. The planet was known by the ancient Egyptians as "Horus of the Horizon", then later Her Deshur ("?r D?r"), or "Horus the Red". The Hebrews named it Ma'adim (?????) ? "the one who blushes"; this is where one of the largest canyons on Mars, the Ma'adim Vallis, gets its name. The Chinese, Japanese and Korean cultures refer to the planet as, or the fire star, a name based on the ancient Chinese mythological cycle of Five elements. In ancient China, the advent of Mars was taken as a portent for "bane, grief, war and murder".
Its symbol, derived from Roman mythology, is a circle with a small arrow pointing out from behind. It is a stylized representation of a shield and spear used by the Roman God Mars. The modern symbol was first found to be written in Byzantine Greek manuscripts dated from the late Middle Ages. Mars in Roman mythology was the God of War and patron of warriors. This symbol is also used in biology to describe the male sex, and in alchemy to symbolise the element iron which was considered to be dominated by Mars whose characteristic red colour is coincidentally due to iron oxide. ? occupies Unicode position U+2642.
*
205.Martian missives.
The popular idea that Mars was populated by intelligent Martians exploded in the late 19th century. Schiaparelli's "canali" observations combined with Percival Lowell's books on the subject put forward the standard notion of a planet that was a drying, cooling, dying world with ancient civilizations constructing irrigation works.
Many other observations and proclamations by notable personalities added to what has been termed "Mars Fever". In 1899 while investigating atmospheric radio noise using his receivers in his Colorado Springs lab, inventor Nikola Tesla observed repetitive signals that he later surmised might have been radio communications coming from another planet, possibly Mars. In a 1901 interview Tesla said:
It was some time afterward when the thought flashed upon my mind that the disturbances I had observed might be due to an intelligent control. Although I could not decipher their meaning, it was impossible for me to think of them as having been entirely accidental. The feeling is constantly growing on me that I had been the first to hear the greeting of one planet to another.
Tesla's theories gained support from Lord Kelvin who, while visiting the United States in 1902, was reported to have said that he thought Tesla had picked up Martian signals being sent to the United States. Kelvin "emphatically" denied this report shortly before departing America: "What I really said was that the inhabitants of Mars, if there are any, were doubtless able to see New York, particularly the glare of the electricity."
In a New York Times article in 1901, Edward Charles Pickering, director of the Harvard College Observatory, said that they had received a telegram from Lowell Observatory in Arizona that seemed to confirm that Mars was trying to communicate with the Earth.
Early in December 1900, we received from Lowell Observatory in Arizona a telegram that a shaft of light had been seen to project from Mars (the Lowell observatory makes a specialty of Mars) lasting seventy minutes. I wired these facts to Europe and sent out neostyle copies through this country. The observer there is a careful, reliable man and there is no reason to doubt that the light existed. It was given as from a well-known geographical point on Mars. That was all. Now the story has gone the world over. In Europe it is stated that I have been in communication with Mars, and all sorts of exaggerations have spring up. Whatever the light was, we have no means of knowing. Whether it had intelligence or not, no one can say. It is absolutely inexplicable.
Pickering later proposed creating a set of mirrors in Texas with the intention of signaling Martians.
*
Inglish Site.61.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
203.Barsoomian.
204.Mars in culture.
205.Martian missives.
*
203.Barsoomian.
Barsoomian is the constructed language of the fictional Barsoomians, the sapient humanoid inhabitants of Mars in the Barsoom series of novels by Edgar Rice Burroughs. It was developed from Burroughs' examples and descriptions by Paul Frommer for the 2012 film John Carter of Mars; Frommer also created the Na?vi language for Avatar.
Spoken Barsoomian has mostly lexical words, with the equivalent of grammatical words such as prepositions and pronouns conveyed telepathically. There are few inflections, and word order is fixed to verb?subject?object. Possession is indicated by juxtaposing the object with the possessor, as in Malay. There is a word that makes direct object definite, as in Hebrew. The vocabulary is relatively simple, with little poetic language.
Some inflection is found in the pronouns. For the object, the initial consonant is suffixed: tu "I", tut "me"; ki "he", kik "him". To form the plural, the consonants are voiced: du "we", dud "us", gi "they".
The effect of the language is staccato. There are ten vowels, five long and five short, transcribed short a e i o u and long aa ey ee oa oo; diphthongs are ao (as in how) and ay (as in high). Consonants are similar to English (b d j g, p t tj k, v z, f th s h, r l, m n, w y), with the addition of the velar fricatives ch [x] and gh [?]. Consonants, both voiced and unvoiced, may also be long or short.
In the books it is mentioned that Barsoomian is the only language spoken on the entire planet of Barsoom. Therefore there never are any language barriers between different people from Barsoom, no matter what country or city on the planet they originate from. Written versions of Barsoomian however can differ greatly between different cities.
John Carter: Inventing New Language
March 3, 2012 by EmanuelLevy Leave a Comment
The actors playing Tharks also had to learn the Tharkian language and accent, which was developed for them based on the writings of Edgar Rice Burroughs by Dr. Paul Frommer, professor emeritus of Clinical Management Communication at the University of Southern California?s Marshall School of Business. Frommer, whose doctorate is in linguistics, also developed the language in ?Avatar.?
Frommer?s guiding principle in developing the Thark language in ?John Carter? was that unless there was a good reason not to, he would make the Thark language as consistent as possible with Edgar Rice Burroughs? writings in order to respect the fan base and help give the language consistency and integrity.
Frommer went through John Flint Roy?s ?A Guide to Barsoom? and entered each Barsoomian word he found there into a database. The 420 words Burroughs had invented were mainly character and place names, but there were also a few measurement terms, numbers, plant names, etc. Frommer?s goal was to discover all the sounds and sound combinations Edgar Rice Burroughs had used, which would form the basis of the sound system of the language.
Creating that sound system was the first order of business for Frommer. ?I had to decide what sounds are in the language, what sounds are not in the language and what sort of combinations of sounds existed,? he says. ?I discussed my ideas with Andrew Stanton and then I sent Andrew and Colin Wilson producer some sound samples, which were certain ideas for how the language might sound, consistent with the spelling that Burroughs had come up with.?
As there was virtually no grammar and thus no rules, Frommer had to determine the grammar on his own. He decided it should be simple?no complex verb conjugations, no case endings on nouns?with grammatical relations determined by word order, as in English, and words mostly in their basic forms without alteration.
The idea of simplicity came from a line in ?A Princess of Mars? at the end of Chapter VII, which John Carter says in narration: ?The Martian language . . . is extremely simple, and in a week I could make all my wants known and understand nearly everything that was said to me.?
An example of one important grammatical element that Frommer had to figure out was the basic word order in sentences, since there were no full sentences in the books to use as examples, except for one simple command. He explains, ?The three basic elements of a sentence are subject, object and verb. There are six possible permutations of those. Some of these are extremely common in human languages and some are not. I decided on a verb-initial sequence: verb, subject, object. So basically, an English sentence like ?I see the house,? comes out in Barsoomian as ?See I the house.??
Dialogue coach Roisin Carty was brought on the ?John Carter? production to help the actors learn the language. In order to assist her, Frommer wrote out the dialogue in both English and the constructed language and provided a phonetic guide and recorded sound files to help the actors with pronunciation.
Carty, who previously worked on the ?Lord of the Rings? films to develop the Elvish language, notes distinct differences between the two created languages: ?Tolkien based his Elvish dialect on the Welsh language. It is very lyrical and light in quality. The Thark language is quite staccato and earthy, with thumped consonants.?
Describing how the actors approached learning the language, Carty recalls, ?At Thark camp, before the film started shooting, the actors worked as a group and practiced their lines in a circle. They would copy each other and influence each other, and they shared ideas.?
Carty also worked with the actors individually on their Thark language skills. ?Willem Dafoe,who plays Tars Tarkas, speaks the most Thark, Doubled consonants are held longer: Jeddak, lekkad, ebbok, skarrus short vowels: a, e, i, o, u Long vowels: aa, ey, ee, oa, oo
In the examples in the next text box, underlined syllables are stressed. and he?s learned all of it very well,? Carty comments. ?We went through the scenes speaking Thark to one another and we really began to communicate in the language. It was amazing.
Samantha Morton and Polly Walker also really brought it to life. That?s the sign of a good actor!?
Frommer feels that constructed language in film is here to stay and that it adds another dimension to the movie for the audience. ?It adds a sense of reality, an extra dimension of reality. Not that a listener is going to understand what the sentence means and understand what every word means, but there is a sort of consistency, which I think comes across almost unconsciously. If it were gibberish, somehow it probably would not feel as real to an audience as if it were a really consistent, constructed language.
?In any event, ever since Klingon in ?Star Trek,? it?s became sort of expected that if there is a language to any extent in the science fiction enterprise, it?s going to be a language that is actually a language,? Frommer continues. ?So after Klingon you had the languages of ?Lord of the Rings,? which Tolkien had come up with, which are very wellconstructed
languages, and then there was Na?vi in ?Avatar.? And now, more recently, there is Dothraki, which is the language of ?Game of Thrones.? By and large, any sort of language for science fiction that?s going to have any sort of major role is going to be well constructed from here on in, I think.?
Pronunciation Key.
ch as in Bach, Chanukah (scrapey sound)
gh no equivalent in English. Scrapey sound,
but voiced. Something like ?Parisian r.?
th as in thin, NOT as in then
tj Represents the ch sound in church, chin
x Always like ks, even at the beginning of
a word: xamad ( = ksamad), xan ( = ksan)
ao Represents the ow sound in cow
ay Represents the sound in eye, my, pie, sigh
ey as in they
The actors playing Tharks also had to learn the Tharkian language and accent, which was developed for them based on the writings of Edgar Rice Burroughs by Dr. Paul Frommer, professor emeritus of Clinical Management Communication at the University of Southern California?s Marshall School of Business. Frommer, whose doctorate is in linguistics, also developed the language in ?Avatar.?
Frommer?s guiding principle in developing the Thark language in ?John Carter? was that unless there was a good reason not to, he would make the Thark language as consistent as possible with Edgar Rice Burroughs? writings in order to respect the fan base and help give the language consistency and integrity.
Frommer went through John Flint Roy?s ?A Guide to
Barsoom? and entered each Barsoomian word he found there into a database.
The 420 words Burroughs had invented were mainly character and place names, but there were also a few measurement terms, numbers, plant names, etc. Frommer?s goal was to discover all the sounds and sound combinations Edgar Rice Burroughs had used, which would form the basis of the sound system of the language.
Creating that sound system was the first order of business for Frommer. ?I had to decide what sounds are in the language, what sounds are not in the language and what sort of combinations of sounds existed,? he says. ?I discussed my ideas with Andrew Stanton and then I sent Andrew and Colin Wilson producer some sound samples, which were certain ideas for how the language might sound, consistent with the spelling that Burroughs had come up with.?
As there was virtually no grammar and thus no rules, Frommer had to determine the grammar on his own. He decided it should be simple?no complex verb conjugations, no case endings on nouns?with grammatical relations determined by word order, as
in English, and words mostly in their basic forms without alteration.
The idea of simplicity came from a line in ?A Princess of Mars? at the end of Chapter VII, which John Carter says in narration: ?The Martian language . . . is extremely simple, and in a week I could
make all my wants known and understand nearly everything that was said to me.?
An example of one important grammatical element that Frommer had to figure out was the basic word order in sentences, since there were no full sentences in the books to use as examples, except for one simple command. He explains, ?The three basic elements of a sentence are subject, object and verb. There are six possible permutations of those. Some of these are extremely common in human languages and some are not. I decided on a verb-initial sequence: verb, subject, object. So basically, an English sentence like ?I see the house,? comes out in Barsoomian as ?See I the house.??
Dialogue coach Roisin Carty was brought on the ?John Carter? production to help the actors learn the language. In order to assist her, Frommer wrote out the dialogue in both English and the constructed language and provided a phonetic guide and recorded
sound files to help the actors with pronunciation.
Carty, who previously worked on the ?Lord of the Rings? films to develop the Elvish language, notes distinct differences between the two created languages: ?Tolkien based his Elvish dialect on the Welsh language. It is very lyrical and light in quality. The Thark language is quite staccato and earthy, with thumped consonants.?
Describing how the actors approached learning
the language, Carty recalls, ?At Thark camp,
before the film started shooting, the actors
worked as a group and practiced their lines
in a circle. They would copy each other and
influence each other, and they shared ideas.?
Carty also worked with the actors individually
on their Thark language skills. ?Willem Dafoe,
who plays Tars Tarkas, speaks the most Thark
Doubled consonants are held longer: Jeddak, lekkad, ebbok, skarrus short vowels: a, e, i, o, u Long vowels: aa, ey, ee, oa, oo
In the examples in the next text box, underlined syllables are stressed. and he?s learned all of it very well,? Carty comments. ?We went through the scenes speaking Thark to one another and we really began to communicate in the language. It was amazing.
Samantha Morton and Polly Walker also really
brought it to life. That?s the sign of a good actor!?
Frommer feels that constructed language in film is here to stay and that it adds another dimension to the movie for the audience. ?It adds a sense of reality, an extra dimension of reality. Not that a listener is going to understand what the sentence means and understand what every word means, but there is a sort of consistency, which I think comes across almost unconsciously. If it were gibberish, somehow it probably would not feel as real to an audience as if it
were a really consistent, constructed language.
?In any event, ever since Klingon in ?Star Trek,? it?s became sort of expected that if there is a language to any extent in the science fiction enterprise, it?s going to be a language that is actually a language,? Frommer continues. ?So after Klingon you had the languages of ?Lord of the Rings,? which Tolkien had come up with, which are very wellconstructed
languages, and then there was Na?vi in ?Avatar.? And now, more recently, there is Dothraki, which is the
language of ?Game of Thrones.? By and large, any sort of language for science fiction that?s going to have any sort of major role is going to be well constructed from here on in, I think.?
Pronunciation Key.
ch as in Bach, Chanukah (scrapey sound)
gh no equivalent in English. Scrapey sound,
but voiced. Something like ?Parisian r.?
th as in thin, NOT as in then
tj Represents the ch sound in church, chin
x Always like ks, even at the beginning of
a word: xamad ( = ksamad), xan ( = ksan)
ao Represents the ow sound in cow
ay Represents the sound in eye, my, pie, sigh
ey as in they
According to ERB, we have on Barsoom the sofad, ad, haad, and karad measurements with the following relationships:
10 sofad = 1 ad
200 ad = 1 haad
100 haad = 1 karad = 1 degree of Barsoomian longitude
360 karad = circumference of Barsoom at the equator
So, the ad is the basic unit of measurement. This means the prefixes sof, ha, and kar must impart some meaning to the basic term ad. Judging by my previous post, it doesn?t appear that these three are numerical. It would seem strange (even for Barsoom) for sof to mean something like ?1/10?. Unfortunately, sof does not appear in any other Barsoomian name. On the other hand, both ha and kar do appear: Haja (princess of Gathol), Tor Hatan (Odwar of the
91st Umak), Okar (a city), Kar Komak (odwar of Lothar), Torkar Bar (Kaolian noble). How do reconcile these different uses? My suggestion: sof means something like ?small, minor, lesser? and ha ?bigger, major, greater?. Kar, on the other hand, since it refers to measurement ?around? the planet could mean something like ?long, lengthy, extended? and by extension in the vertical plane ?tall, high?. I could even go so far as to say that kar is the final comparative degree: ?biggest, greatest?. You may remember we also had -dak (< jeddak) and -dara (< jeddara) as superlative markers. A better term for these two might be an augmentative (i.e., the opposite of the ?-y? or ?-ie? in names like ?Tommy? and ?Susie?). This would give us degrees of comparison (smaller, original, bigger). That means then that we have:
sof ?small?
ha ?bigger?
kar ?biggest?
We could even use these in the opposite direction and get:
sof ?small?
hasof ?smaller?
karsof ?smallest?
I could see Kar Komak?s first name meaning something like ?The High? (as in ?your highness?). Sure, why not? We?re also saying that modifiers come after the word they modify. So?
Calot ha dar phai karsof jeddak ?[The] larger calot guards [the] jeddak?s youngest (i.e., smallest) daughter?
Darseen sof banth ?[A] darseen [is] smaller [than a] banth?
And finally?
John Carter sof Tars Tarkas than-dak ?John Carter [is] smaller [than] Tars Tarkas, [but he is a] great fighter? (Once again, taking advantage of the telepathic component of Barsoomian)
*
204.Mars in culture.
For example, the planet Mars is named after the Roman god of war Mars. In Babylonian astronomy, the planet was named after Nergal, their deity of fire, war, and destruction, most likely due to the planet's reddish appearance. Whether the Greeks equated Nergal with their god of war, Ares, or whether both drew from a more ancient association is unclear. In the age of Plato, the Greeks called the planet ????? ????? (Areos aster), or "star of Ares". Following the identification of Ares and Mars, it was translated into Latin as stella Martis, or "star of Mars", or simply Mars. The Hellenistic Greeks also called the planet ??????? Pyroeis, meaning "fiery".
In the Skanda Purana, a Hindu religious text, Mars is known as the deity Mangala and was born from the sweat of Shiva. The planet is called Angaraka in Sanskrit, after the celibate god of war who possesses the signs of Aries and Scorpio, and teaches the occult sciences. The planet was known by the ancient Egyptians as "Horus of the Horizon", then later Her Deshur ("?r D?r"), or "Horus the Red". The Hebrews named it Ma'adim (?????) ? "the one who blushes"; this is where one of the largest canyons on Mars, the Ma'adim Vallis, gets its name. The Chinese, Japanese and Korean cultures refer to the planet as, or the fire star, a name based on the ancient Chinese mythological cycle of Five elements. In ancient China, the advent of Mars was taken as a portent for "bane, grief, war and murder".
Its symbol, derived from Roman mythology, is a circle with a small arrow pointing out from behind. It is a stylized representation of a shield and spear used by the Roman God Mars. The modern symbol was first found to be written in Byzantine Greek manuscripts dated from the late Middle Ages. Mars in Roman mythology was the God of War and patron of warriors. This symbol is also used in biology to describe the male sex, and in alchemy to symbolise the element iron which was considered to be dominated by Mars whose characteristic red colour is coincidentally due to iron oxide. ? occupies Unicode position U+2642.
*
205.Martian missives.
The popular idea that Mars was populated by intelligent Martians exploded in the late 19th century. Schiaparelli's "canali" observations combined with Percival Lowell's books on the subject put forward the standard notion of a planet that was a drying, cooling, dying world with ancient civilizations constructing irrigation works.
Many other observations and proclamations by notable personalities added to what has been termed "Mars Fever". In 1899 while investigating atmospheric radio noise using his receivers in his Colorado Springs lab, inventor Nikola Tesla observed repetitive signals that he later surmised might have been radio communications coming from another planet, possibly Mars. In a 1901 interview Tesla said:
It was some time afterward when the thought flashed upon my mind that the disturbances I had observed might be due to an intelligent control. Although I could not decipher their meaning, it was impossible for me to think of them as having been entirely accidental. The feeling is constantly growing on me that I had been the first to hear the greeting of one planet to another.
Tesla's theories gained support from Lord Kelvin who, while visiting the United States in 1902, was reported to have said that he thought Tesla had picked up Martian signals being sent to the United States. Kelvin "emphatically" denied this report shortly before departing America: "What I really said was that the inhabitants of Mars, if there are any, were doubtless able to see New York, particularly the glare of the electricity."
In a New York Times article in 1901, Edward Charles Pickering, director of the Harvard College Observatory, said that they had received a telegram from Lowell Observatory in Arizona that seemed to confirm that Mars was trying to communicate with the Earth.
Early in December 1900, we received from Lowell Observatory in Arizona a telegram that a shaft of light had been seen to project from Mars (the Lowell observatory makes a specialty of Mars) lasting seventy minutes. I wired these facts to Europe and sent out neostyle copies through this country. The observer there is a careful, reliable man and there is no reason to doubt that the light existed. It was given as from a well-known geographical point on Mars. That was all. Now the story has gone the world over. In Europe it is stated that I have been in communication with Mars, and all sorts of exaggerations have spring up. Whatever the light was, we have no means of knowing. Whether it had intelligence or not, no one can say. It is absolutely inexplicable.
Pickering later proposed creating a set of mirrors in Texas with the intention of signaling Martians.
*
Geen opmerkingen:
Een reactie posten