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Ok, I'll bite. What are the 5 German/English categories of comparison?

On Thursday, November 19, 2009, Mechthild Czapp <[log in to unmask]> wrote:
>> An: [log in to unmask]
>> Betreff: Negative space
>
>> To all you artlangers out there:  how do you use ambiguity?  What does it
>> say
>> about your language?  Have you used it to bring out certain aspects of the
>> language's artistic expression?  Is it a stumbling block, or an
>> opportunity?
>>
> It is both, I'd say.
>
> It can be very confusing to stumble over a word and realize that the mental concept you have to assign to it is X/Y/Z instead of a clear X, but most of the time, we don't want the precision of Lojban or Ilaksh.
>
>> I'm also interested to hear from people who've created languages with the
>> (incident or main) goal of changing/stretching their thinking.  Have you
>> introduced elements of ambiguity that is radically different from your L1,
>> and if
>> so, how?  Here I'm thinking of conlangs like gzb, kelen, etc.
>
> Well, Rejistanian did affect my thinking. I can't compare things anymore in the 5 German/English categories, but the 14 Rejistanian ones. This was never planned though. I introduced ambiguity for the ease of speaking and because it `just makes sense culturally'.
>
> I realized that often the right way of saying something is a long phrase, so I made a few things like tenses and noun classes optional  Xe'la'visko exkola'he'han eksami'het'il (I spoke with the teacher about your exam) vs. Xe'visko exkola'han eksami'il (I speak/spoke/will speak with the school/teacher about your exam/examiner)). The ambiguity here is a trade-off. The epidemic use of what looks like the present tense is somewhat related to spoken German, the noun classes are not.
>
> Va'il veka
> ~Mechthild
> --
> Sanja'xen mi'lanja'kynha ,mi'la'ohix jilih, nka.
>
> My life would be easy if it was not so hard!
>
>
>
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-- 
Mark J. Reed <[log in to unmask]>