They reasoned that each logogram could be cut up into 12 pieces.
|
|
Patrice Vermette is the designer who created the logogram language, with help from his wife, artist Martine Bertrand.
|
|
But once he's added delicate hind legs, spindly forelegs, and the muscular slopes of rump and neck, Traylor invariably arrives at something with the eerie singularity of a Sumerian logogram.
|
|
Avant Garde logogram featuring typeface of the same name. Designed by Herb Lubalin. Avant Garde was a magazine notable for graphic and logogram design by Herb Lubalin. The magazine had 14 issues and was published from January 1968 to July 1971.
|
|
01 01 is compared to the logogram SARU, a walking man or walking legs in Luwian. 02 02 is compared to word-initial a2, a head with a crown in Luwian. The "bow" 11 11 is identified as the logogram sol suus, the winged sun known from Luwian royal seals. The "shield" 12 12 is compared to the near identical Luwian logogram TURPI "bread" and assigned the value tu.
|
|
39 39 they read as the "thunderbolt", logogram of Tarhunt, in Luwian a W-shaped hieroglyph.
|
|
For example, bʼalam 'jaguar' could be written as a single logogram, ; a logogram with syllable additions, as ba-, or -ma, or bʼa--ma; or written completely phonetically with syllabograms as bʼa-la-ma. In addition, some syllable glyphs were homophones, such as the six different glyphs used to write the very common third person pronoun u-.
|
|
In the Epic, ZU is also used as a logogram, ZU.AB, for Akkadian language "apsû",Parpola, 197l. The Standard Babylonian Epic of Gilgamesh, Logograms and Their Readings, pp. 117-118, ZU.AB, p. 118.Parpola, 197l.
|
|
In logographic writing systems, glyphs represent words or morphemes (meaningful components of words, as in mean-ing- ful), rather than phonetic elements. Note that no logographic script is composed solely of logograms. All contain graphemes that represent phonetic (sound-based) elements as well. These phonetic elements may be used on their own (to represent, for example, grammatical inflections or foreign words), or may serve as phonetic complements to a logogram (used to specify the sound of a logogram that might otherwise represent more than one word).
|
|
A Sumerogram is the use of a Sumerian cuneiform character or group of characters as an ideogram or logogram rather than a syllabogram in the graphic representation of a language other than Sumerian, such as Akkadian or Hittite. Sumerograms are normally transliterated in majuscule letters, with dots separating the signs. In the same way, a written Akkadian word that is used ideographically to represent a language other than Akkadian (such as Hittite) is known as an Akkadogram. This type of logogram characterized, to a greater or lesser extent, every adaptation of the original Mesopotamian cuneiform system to a language other than Sumerian.
|
|
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing)Ellsworth Hamann 2008, pp. 6–7. is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53.
|
|
Sumerian cylinder seal impression dating to 3200 BC, showing an ensi and his acolyte feeding a sacred herd. PA.TE.SI (Ensi) on the tablet of Lugalanatum. Ensi (cuneiform: , "lord of the plowland"; Emesal dialect: umunsik; )John Allan Halloran: Sumerian Lexicon. Logogram Publishing, Los Angeles (Cal.) 2006.
|
|
Inputting complex characters can be cumbersome on electronic devices due to a practical limitation in the number of input keys. There exist various input methods for entering logograms, either by breaking them up into their constituent parts such as with the Cangjie and Wubi methods of typing Chinese, or using phonetic systems such as Bopomofo or Pinyin where the word is entered as pronounced and then selected from a list of logograms matching it. While the former method is (linearly) faster, it is more difficult to learn. With the Chinese alphabet system however, the strokes forming the logogram are typed as they are normally written, and the corresponding logogram is then entered.
|
|
For example, in Mayan, the glyph for "fin", pronounced "ka", was also used to represent the syllable "ka" whenever the pronunciation of a logogram needed to be indicated, or when there was no logogram. In Chinese, about 90% of characters are compounds of a semantic (meaning) element called a radical with an existing character to indicate the pronunciation, called a phonetic. However, such phonetic elements complement the logographic elements, rather than vice versa. The main logographic system in use today is Chinese characters, used with some modification for the various languages or dialects of China, Japan, and sometimes in Korean despite the fact that in South and North Korea, the phonetic Hangul system is mainly used.
|
|
Logogram Publishing, Los Angeles (Cal.) 2006. was a title associated with the ruler or prince of a city. The people understood that the ensi was a direct representative of the city's patron deity.Saggs, H. W. F. 1988, The Greatness That Was Babylon (revised edition) Initially, the term "ensi" may have been specifically associated with rulers of Lagash and Umma.
|
|
The Early Classic period emblem glyph of El Perú consists of an Ajaw glyph connected to a zoomorphic head. According to Stanley Paul Guenter, this is similar to the Chapa(h)t logogram. Guenter also believes the zoomorphic head represents a centipede or creature with a face like a centipede's. The main sign of this glyph says Wak.
|
|
Tenevil () (ca. 1890–1943?) was a Chukchi reindeer herder, living in the tundra near the settlement of Ust-Belaya in Russian province of Chukotka. Around 1927 or 1928 he independently invented a writing system for the Chukchi language. It has never been established with certainty whether the symbols in this writing system were ideograms/pictograms or whether the system was logogram-based.
|
|
In modern Japanese, hiragana and katakana have directly corresponding sets of characters representing the same series of sounds. Katakana, with a few additions, are also used to write Ainu. Taiwanese kana were used in Taiwanese Hokkien as glosses (furigana) for Chinese characters in Taiwan under Japanese rule. Each kana character (syllabogram) corresponds to one sound in the Japanese language, unlike kanji regular script corresponding to meaning (logogram).
|
|
Adad and Iškur are usually written with the logogram ORACC – Iškur/Adad (god)—the same symbol used for the Hurrian god Teshub. Hadad was also called Pidar, Rapiu, Baal-Zephon, or often simply Baʿal (Lord), but this title was also used for other gods. The bull was the symbolic animal of Hadad. He appeared bearded,Sacred bull, holy cow: a cultural study of civilization's most important animal.
|
|
In the case of Chinese, the phonetic element is built into the logogram itself; in Egyptian and Mayan, many glyphs are purely phonetic, whereas others function as either logograms or phonetic elements, depending on context. For this reason, many such scripts may be more properly referred to as logosyllabic or complex scripts; the terminology used is largely a product of custom in the field, and is to an extent arbitrary.
|
|
Corporate identity is a primary goal of the corporate communications, in order to maintain and build the identity to accord with and facilitate the corporate business objectives. In general, this amounts to a corporate title, logo (logotype and/or logogram) and supporting devices commonly assembled within a set of corporate guidelines. These guidelines govern how the identity is applied and usually include approved colour palettes, typefaces, page layouts, fonts, and others.
|
|
Comparative evolution from pictograms to abstract shapes, in Mesopotamian cuneiforms, Egyptian hieroglyphs and Chinese characters. A logogram is a written character which represents a word or morpheme. A vast number of logograms are needed to write Chinese characters, cuneiform, and Mayan, where a glyph may stand for a morpheme, a syllable, or both—("logoconsonantal" in the case of hieroglyphs). Many logograms have an ideographic component (Chinese "radicals", hieroglyphic "determiners").
|
|
As time went by, the cuneiform got very complex and the distinction between a pictogram and syllabogram became vague. Several symbols had too many meanings to permit clarity. Therefore, symbols were put together to indicate both the sound and the meaning of a compound. The word 'raven' [UGA] had the same logogram as the word 'soap' [NAGA], the name of a city [EREŠ], and the patron goddess of Eresh [NISABA].
|
|
Depending on the context, a cuneiform sign can be read either as one of several possible logograms, each of which corresponds to a word in the Sumerian spoken language, as a phonetic syllable (V, VC, CV, or CVC), or as a determinative (a marker of semantic category, such as occupation or place). (See the article Transliterating cuneiform languages.) Some Sumerian logograms were written with multiple cuneiform signs. These logograms are called diri-spellings, after the logogram 'diri' which is written with the signs SI and A. The text transliteration of a tablet will show just the logogram, such as the word 'diri', not the separate component signs. Not all epigraphists are equally reliable, and before a scholar publishes an important treatment of a text, the scholar will often arrange to collate the published transcription against the actual tablet, to see if any signs, especially broken or damaged signs, should be represented differently.
|
|
Visually, hieroglyphs are all more or less figurative: they represent real or abstract elements, sometimes stylized and simplified, but all generally perfectly recognizable in form. However, the same sign can, according to context, be interpreted in diverse ways: as a phonogram (phonetic reading), as a logogram, or as an ideogram (semagram; "determinative") (semantic reading). The determinative was not read as a phonetic constituent, but facilitated understanding by differentiating the word from its homophones.
|
|
Early Chinese character for sun (ri), 1200 B.C meaning "day" or "Sun" A logogram is a single written character which represents a complete grammatical word. Most traditional Chinese characters are classified as logograms. As each character represents a single word (or, more precisely, a morpheme), many logograms are required to write all the words of language. The vast array of logograms and the memorization of what they mean are major disadvantages of logographic systems over alphabetic systems.
|
|
Cuneiform, Sumerian tablets and the world's oldest writing (factanddetails.com) Pictographs then began to appear on clay tablets around 4000 BCE, and after the later development of Sumerian cuneiform writing, a more sophisticated partial syllabic script evolved that by around 2500 BCE was capable of recording the vernacular, the everyday speech of the common people. Sumerians used what is known as pictograms. Pictograms are symbols that express a pictorial concept, a logogram, as the meaning of the word.
|
|
The structure of the cuneiform sign is similar to, Ir (cuneiform), 100x24px. The "sa" sign has the syllabic usage for sa, and a Sumerogram usage for SA. Alphabetically "sa" can be used for s ("s" can be interchanged with any "z"); and "sa" can be used for a. In Akkadian, all 4 vowels, a, e, i, u are interchangeable with each other. SA in the Epic of Gilgamesh is a logogram for Akkadian "Šer'ānu", translated as: "muscle, sinew".
|
|
The frequency and intensity of their use varied depending on period, style, and genre. The name of the cuneiform sign written in majuscule letters is a modern Assyriological convention. Most signs have a number of possible Sumerian sound values. The readers of Assyrian or Hittite texts using these Sumerograms would not necessarily have been aware of the Sumerian language, the Sumerograms functioning as ideograms or logogram to be substituted in pronunciation by the intended word in the text's language.
|
|
Some signs are dedicated to one use or another, but many are flexible. Words may be written logographically, phonetically, mixed (that is, a logogram with a phonetic complement), and may be preceded by a determinative. Other than the fact that the phonetic glyphs form a syllabary rather than indicating only consonants, this system is analogous to the system of Egyptian hieroglyphs. A more elaborate monumental style is distinguished from more abstract linear or cursive forms of the script.
|
|
The Late classic shows a transition from iconographic logogram usage for the emblem glyph to use of syllables to spell out the name. The "Snake Head Emblem" was originally thought to represent El Perú. This idea came from a pair of looted stelea Ian Graham said came from the site. Scholars David Stuart, Stephen Houston, and others have found a different emblem glyph they believe provides a better representation of El Perú during the Late Classic.
|
|
In Japan, common characters are written in post-WWII Japan-specific simplified forms, while uncommon characters are written in Japanese traditional forms, which are virtually identical to Chinese traditional forms. In modern Chinese, most words are compounds written with two or more characters. Unlike an alphabetic system, a character-based writing system associates each logogram with an entire sound and thus may be compared in some aspects to a syllabary. A character almost always corresponds to a single syllable that is also a morpheme.
|
|
The single logogram for ren is a composite of two distinct common hanzi, 人 (man, a man, a person) and 二 (two), with 人 assuming its common form inside another character, to which various interpretations have been assigned. One often hears that ren means "how two people should treat one another". While such folk etymologies are common in discussions of Chinese characters, they are often misleading. In the case of ren - usually translated as "benevolence" or "humaneness" - Humaneness is Human-ness, the essence of being human.
|
|
In both Inscriptional and Book Pahlavi, many common words, including even pronouns, particles, numerals, and auxiliaries, were spelled according to their Aramaic equivalents, which were used as logograms. For example, the word for "dog" was written as (Aramaic kalbā) but pronounced sag; and the word for "bread" would be written as Aramaic (laḥmā) but understood as the sign for Iranian nān. These words were known as huzvārishn. Such a logogram could also be followed by letters expressing parts of the Persian word phonetically, e.g.
|
|
A word could be written phonetically even when a logogram for it existed (pitar could be or ), but logograms were nevertheless used very frequently in texts. Many huzvarishn were listed in the lexicon Frahang-i Pahlavig. The practice of using these logograms appears to have originated from the use of Aramaic in the chancelleries of the Achaemenid Empire.. Partly similar phenomena are found in the use of Sumerograms and Akkadograms in ancient Mesopotamia and the Hittite empire, and in the adaptation of Chinese writing to Japanese.
|
|
Egyptian hieroglyphs, which have their origins as logograms In a written language, a logogram or logograph is a written character that represents a word or morpheme. Chinese characters (pronounced hanzi in Mandarin, kanji in Japanese, hanja in Korean and Hán tự in Vietnamese) are generally logograms, as are many hieroglyphic and cuneiform characters. The use of logograms in writing is called logography, and a writing system that is based on logograms is called a logography or logographic system. All known logographies have some phonetic component, generally based on the rebus principle.
|
|
The center image has closed eyes, hollowed cheeks, a slack jaw and a protruding tongue. The face is wearing an elaborate head-dress decorated with volutes shaped like an Ahaw glyph. The volutes represent smoke or foliation and may be the Early Classic form of the phonetic symbol ya (Thompson's T126) Grube (1990) has shown the Ahaw sign, when not used as a day sign, is a logogram for the word nik or "flower". This was interpreted as marking the building as a nikteil na or "flower house" (Grube, et al. 1995).
|
|
Although small script had some similarities to Chinese, Khitan characters were often used to record Chinese words. The appearance of a likeness between a small script and a Chinese character does not help in the reading of Khitan. For example, the Chinese character for 'mountain' (山) is the same as the Khitan small script logogram for 'gold' (and, thus, the name of the Jin dynasty).Kane (1989), p. 17 Of the 378 known small script characters, 125 are semantic, 115 are phonetic, and the remainder have not been deciphered.
|
|
Akkadian ( akkadû, ak-ka-du-u2; logogram: URIKI)John Huehnergard & Christopher Woods, "Akkadian and Eblaite", The Cambridge Encyclopedia of the World's Ancient Languages. Ed. Roger D. Woodard (2004, Cambridge) Pages 218-280 is an extinct East Semitic language that was spoken in ancient Mesopotamia (Akkad, Assyria, Isin, Larsa and Babylonia) from the third millennium BCE until its gradual replacement by Akkadian-influenced Old Aramaic among Mesopotamians by the 8th century BCE. It is the earliest attested Semitic language.John Huehnergard and Christopher Woods, "Akkadian and Eblaite", in Roger D. Woodard, ed.
|
|
Cuneiform writing (Neoassyrian script) (1 = Logogram (LG) "mix"/syllabogram (SG) ', 2 = LG "moat", 3 = SG ', 4 = SG , , , , 5 = SG kam, 6 = SG im, 7 = SG bir) Old Akkadian is preserved on clay tablets dating back to c. 2500 BC. It was written using cuneiform, a script adopted from the Sumerians using wedge-shaped symbols pressed in wet clay. As employed by Akkadian scribes, the adapted cuneiform script could represent either (a) Sumerian logograms (i.e., picture-based characters representing entire words), (b) Sumerian syllables, (c) Akkadian syllables, or (d) phonetic complements.
|
|
However, in Akkadian the script practically became a fully fledged syllabic script, and the original logographic nature of cuneiform became secondary, though logograms for frequent words such as 'god' and 'temple' continued to be used. For this reason, the sign AN can on the one hand be a logogram for the word ilum ('god') and on the other signify the god Anu or even the syllable -an-. Additionally, this sign was used as a determinative for divine names. Another peculiarity of Akkadian cuneiform is that many signs do not have a well- defined phonetic value.
|
|
It was redesigned to be easier to speak and included an additional writing system.Ilaksh script diagram (indicates what the various parts of an Ilaksh logogram indicate) (no longer available on site, link shows archive.org's cache)Ilaksh formal / ornamental script example, an updated version of the older script diagram The initial sequential "informal" system suitable for handwriting or compact typesetting, and a "formal" logographic system with artistic possibilities resembling Maya scripts. In the "informal" writing system, several parallel sets of lines are shaped to correspond sequentially to the different parallel sets of lexemes and inflections.
|
|
Therefore, in China, Vietnam, Korea, and Japan before modern times, communication by writing () was the norm of East Asian international trade and diplomacy using Classical chinese. This separation, however, also has the great disadvantage of requiring the memorization of the logograms when learning to read and write, separately from the pronunciation. Though not from an inherent feature of logograms but due to its unique history of development, Japanese has the added complication that almost every logogram has more than one pronunciation. Conversely, a phonetic character set is written precisely as it is spoken, but with the disadvantage that slight pronunciation differences introduce ambiguities.
|
|
Thus the word "karate" was originally a way of expressing "martial art from China." The first documented use of a homophone of the logogram pronounced kara by replacing the Chinese character meaning "Tang Dynasty" with the character meaning "empty" took place in Karate Kumite written in August 1905 by Chōmo Hanashiro (1869–1945). Sino-Japanese relations have never been very good, and especially at the time of the Japanese invasion of Manchuria, referring to the Chinese origins of karate was considered politically incorrect. Another nominal development is the addition of dō (道:どう) to the end of the word karate.
|
|
For example, the Hebrew letter aleph ("א") is often used by mathematicians to denote certain kinds of infinity (ℵ), but it is also used in ordinary Hebrew text. In Unicode, these two uses are considered different characters, and have two different Unicode numerical identifiers ("code points"), though they may be rendered identically. Conversely, the Chinese logogram for water ("水") may have a slightly different appearance in Japanese texts than it does in Chinese texts, and local typefaces may reflect this. But nonetheless in Unicode they are considered the same character, and share the same code point.
|
|
In early (Ur I) monumental Sumerian script, or cuneiform, a pentagram glyph served as a logogram for the word ub, meaning "corner, angle, nook; a small room, cavity, hole; pitfall" (this later gave rise to the cuneiform sign UB , composed of five wedges, further reduced to four in Assyrian cuneiform). The word Pentemychos ( lit. "five corners" or "five recesses")πεντέμυχος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus was the title of the cosmogony of Pherecydes of Syros.This is a lost book, but its contents are preserved in Damascius, De principiis, quoted in Kirk and Raven, (1983) [1956], p. 55.
|
|
Because of its ubiquity, it is generally no longer considered a ligature, but a logogram. Like many other ligatures, it has at times been considered a letter (e.g., in early Modern English); in English it is pronounced "and", not "et", except in the case of &c;, pronounced "et cetera". In most fonts, it does not immediately resemble the two letters used to form it, although certain typefaces use designs in the form of a ligature (examples including the original versions of Futura and Univers, Trebuchet MS, and Civilité (known in modern times as the italic of Garamond).
|
|
All historical logographic systems include a phonetic dimension, as it is impractical to have a separate basic character for every word or morpheme in a language. In some cases, such as cuneiform as it was used for Akkadian, the vast majority of glyphs are used for their sound values rather than logographically. Many logographic systems also have a semantic/ideographic component, called "determinatives" in the case of Egyptian and "radicals" in the case of Chinese. Typical Egyptian usage was to augment a logogram, which may potentially represent several words with different pronunciations, with a determinate to narrow down the meaning, and a phonetic component to specify the pronunciation.
|
|
A "+" sign stands for [ne] or [nen], from the word name (Ndyuka nen), derived from the practice of signing one's name with an X. The odd conflation of [u] and [ku] is due to the letter being a pair of hooks, which is uku in Ndyuka.In fact, Dubelaar and Pakosie imply that this letter also stands for [uku], making it a logogram. The only letters which appear to correspond to the Latin alphabet are the vowels a, o, and maybe e, though o is justified as the shape of the mouth when pronouncing it.E, which resembles a capital Latin letter M, may be acrophonic for the name of the letter "em".
|
|
The first attempts at decipherment in the late 1800s rendered forms interpreting "gal," meaning "great" in Sumerian, as a logogram for Akkadian "rab" having the same meaning; "Ḫani-Rabbat" denoting "the Great Hani". J. A. Knudtzon, and E. A. Speiser after him, supported instead the reading of "gal" on the basis of its alternative spelling with "gal9", which has since become the majority view. There is still a difficulty to explain the suffix "-bat" if the first sign did not end in "b," or the apparent similarity to the Semitic feminine ending "-at," if derived from a Hurrian word. More recently, in 2011, scholar Miguel Valério,Miguel Valério, Università di Bologna, Dipartimento di Filologia classica e Italianistica (FICLIT).
|
|
From the correspondence between Landa's description of the New Year rituals and the depiction of these rituals in the Dresden Codex, it can be inferred that in 16th-century Yucatán, Kʼawiil was called Bolon Dzacab 'Innumerable (bolon 'nine, innumerable') maternal generations', perhaps a metaphor for fertility. God K's name in the Classic period may have been the same, or similar, since the numeral 'nine' is repeatedly included in the deity's logogram. However, based on epigraphical considerations, the Classical god K is now most often referred to as Kʼawiil. Hieroglyphically, the head of god K can substitute for the syllable kʼa in kʼawiil, a word possibly meaning 'powerful one', and attested as a generic deity title in Yucatec documents.
|
|
A logogriph published in Bower of Taste (February 9, 1828) A logogriph (not to be confused with logogram or logograph) is a form of word puzzle based on the component letters of a key word to be identified, and is derived from Greek λόγος, a word, and γρίφος, a riddle or fishing basket. It generally involves anagrams or other wordplay treatments such as addition, subtraction, omission, or substitution of a letter, and is sometimes arranged in the form of a verse giving hints to the word. The term logogriph is also used for the puzzle type in which a pair of anagrams must be deduced from synonyms (e.g. YELLOW FISH would lead to the answer AMBER BREAM).
|
|
Similarly, the dollar sign $ possibly originated as a ligature (for "pesos", although there are other theories as well) but is now a logogram. – contains section on the history of the dollar sign, with much documentary evidence supporting the theory that $ began as a ligature for "pesos". At least once, the United States dollar used a symbol resembling an overlapping U-S ligature, with the right vertical bar of the U intersecting through the middle of the S ( US ) to resemble the modern dollar sign.Reverse of $1 United States Note (Greenback), series of 1869 The Spanish peseta was sometimes symbolized by a ligature ₧ (from Pts), and the French franc was often symbolized by an F-r ligature (₣).
|
|
Many strokes (both straight and curved) may be halved in length to denote a final "t" or "d". The halving principle may be combined with an initial or final hook (or both) to make words such as "trained" appear as a single short vertical light stroke with an initial and final hook. There are some exceptions to avoid ambiguous forms: a straight-r stroke can't be halved if it's the only syllable, because that might be confused for some other short-form (logogram) consisting of a short-stroke mark in that direction ("and" or "should"). ;Doubling of curved strokes: If ter, der, ture, ther, dher comes in the word the preceding stroke is written double the size (matter, nature, mother).
|
|
For example, a calendaric glyph can be read as the morpheme or as the syllable chi. Glyphs used as syllabograms were originally logograms for single-syllable words, usually those that ended in a vowel or in a weak consonant such as y, w, h, or glottal stop. For example, the logogram for 'fish fin'—found in two forms, as a fish fin and as a fish with prominent fins—was read as [kah] and came to represent the syllable ka. These syllabic glyphs performed two primary functions: as phonetic complements to disambiguate logograms which had more than one reading (similar to ancient Egyptian and modern Japanese furigana); and to write grammatical elements such as verbal inflections which did not have dedicated logograms (similar to Japanese okurigana).
|
|
Heterogram (classical compound: "different" + "written") is a term used mostly in the study of ancient texts for a special kind of a logogram consisting of the embedded written representation of a word in a foreign language, which does not have a spoken counterpart in the main (matrix) language of the text. In most cases, the matrix and embedded languages share the same script. While from the perspective of the embedded language the word may be written either phonetically (representing the sounds of the embedded language) or logographically, it is never a phonetic spelling from the point of view of the matrix language of the text, since there is no relationship between the symbols used and the underlying pronunciation of the word in the matrix language. In English, the written abbreviations e.g.
|
|
While the name Thutmose had also been identified (but not read) by Young who realized that the first syllable was spelled with a depiction of an ibis representing Thoth, Champollion was able to read the phonetic spelling of the second part of the word, and check it against the mentioning of births in the Rosetta stone.Champollion read the name Thutmose as consisting of the logogram Thoth represented by the Ibis and two phonetic signs M and S. In reality however the second sign was MS, not simple M, giving the actual reading THOTH-MS-S. Champollion never realized that some phonetic signs included two consonants. This finally confirmed to Champollion that the ancient texts as well as the recent ones used the same writing system, and that it was a system that mixed logographic and phonetic principles.
|
|
Numerals are written together as one word when their values are multiplied, and separately when their values are added (dudek 20, dek du 12, dudek du 22). Ordinals are formed with the adjectival suffix -a, quantities with the nominal suffix -o, multiples with -obl-, fractions with ‑on‑, collectives with ‑op‑, and repetitions with the root ‑foj‑. :sescent sepdek kvin (675) :tria (third [as in first, second, third]) :trie (thirdly) :dudeko (a score [20]) :duobla (double) :kvarono (one fourth, a quarter) :duope (by twos) :dufoje (twice) The particle po is used to mark distributive numbers, that is, the idea of distributing a certain number of items to each member of a group. Consequently, the logogram @ is not used (except in email addresses, of course): :mi donis al ili po tri pomojn or pomojn mi donis al ili po tri (I gave [to] them three apples each).
|
|
This was done by having a rune stand for its name, or a similar sounding word. In the sole extant manuscript of the poem Beowulf, the ēðel rune was used as a logogram for the word ēðel (meaning "homeland", or "estate").. Both the Hackness Stone and Codex Vindobonensis 795 attest to futhorc Cipher runes.. In one manuscript (Corpus Christi College, MS 041) a writer seems to have used futhorc runes like Roman numerals, writing ᛉᛁᛁ⁊ᛉᛉᛉᛋᚹᛁᚦᚩᚱ, which likely means "12&30 more".. There is some evidence of futhorc rune magic. Sword pommels (such as the artefact indexed as IOW-FC69E6) have been found in England which seem to bear ᛏ runes which may be akin to magical runes spoken of in Norse myth. The possibly magical alu sequence seems to appear on an urn found at Spong Hill in spiegelrunes (runes whose shapes are mirrored).
|
|