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Lea Schäfer

probably intended to be humorous, but humor is bound to change even more so than language, and therefore it is barely comprehensible for us. The play can be interpreted as an exaggerated representation on the margin of urban society (Wacks 2002:56–61). The Viennese production is an adaptation of the

Yishai Neuman

interdentals thus display phonologically adapted final /z/, e.g., Alsatian ju:zerlǝ ‘a coin for the value of ten’—and /s/ as in Swabian German jus or ju:s for ‘ten,’ Hesse German juss ‘ten’ and lammes ‘thirty;’ alongside occasional /f/, resulting from an acoustic adaptation of [ṯ] (cf. Gr. Θεόδωρος

Julia G. Krivoruchko

reflects the traditional pronunciation of Hebrew in the Romaniote communities (Morag 1971:1139–1142; Drettas 1999:280–286). For morphological adaptation of Hebrew/Aramaic nouns in JG see Krivoruchko 2002; in most cases the derivation occurs on the stage of JG rather than upon their adoption into general

Ophira Gamliel

social media posts and tweets). In this sense, categorizing the linguistic contents of the corpus as a pidgin does seem inappropriate. However, the transcription of the two popular Urdu plays into Hebrew script might be a sporadic, short-lived attempt at cultural adaptation rather than an evidence for an

Cyril Aslanov

component generally undergoes a process of strong adaptation to the morphophonemic schemes of the host language. A consequence of this strong adaptation to French is the almost complete loss of the etymological motivation of words and the blurring of word division within the syntagma. The Heterogeneity

David M. Bunis

examples to demonstrate his characterization of Mendele’s adaptation as yídishlekh . Although unstated in his article, the yídishlekh style Weinreich described with respect to Mendele’s translation may be said to stand not only in opposition to the German source, but also to Yiddish written in a less

Nivi Gomel

adaptation of Yosef Karo’s Shulchan Aruch . The book is estimated to have been first published in 1565 in Thessaloniki by the printer Yosef Ben Yitzchak Yaavetz. Part One: Introduction (pp. 1–56) This part contains Schwarzwald’s introduction, referring to the tradition of SN , its content, its

Samir Khalaily and Edit Doron

not Nöldeke’s, but is the re-adaptation suggested by Geoffrey Khan in view of our analysis of the dmi . All the translations of the classical examples in the present section have likewise been re-adapted. Our re-adaptation assigns why in the relevant examples its ordinary lexical meaning, and

Ori Shachmon

become candidates for leveling. One may, therefore, expect that Arabic-speaking Jews originating in places other than Jerusalem would gradually adapt to the local standard dialect. Such adaptation indeed took place, yet—and this is a major point here—there was an essential difference in the manners and

Mohamed A. H. Ahmed

–134). However, the writing of Jewish folklore flourished, and such texts were written in Iraqi Judeo-Arabic from the mid-nineteenth century. This folk literature of Judeo-Arabic written by Iraqi Jews can be divided into three categories: 1) translations and adaptations of Jewish sources; 2) translations and