Letteratura scientifica selezionata sul tema "Urubu language"

Review of the collection of short stories 'Neelamalai' written by Malayalam writer Urubu One of the notable writers in the world of Malayalam literature, PC Kuttikrishnan, also known as uhd Urubu, wrote a collection of short stories called 'Neelamalai' by. Kuttikrishna Menon is the whole point of Asha php. ‘Urubu’ is his nickname. Eva was born on June 8, 1915 in Ponnani, Kozhikode district. Evangel, Short Story, Drama, Poetry, as has given reassurance to all departments. MP Milk Award. Government of Kerala Award for Best Screenplay. Sahitya Akademi Award. The teacher sometimes lived in the Nilgiris and Wayanad hills, Short story Ava has said. There are a total of 6 short stories in this collection. The titles are set in relation to the central theme of the story. As the stories are centered on the Nilgiris and Wayanad, the technique of setting the beginning of the story with descriptions of places is used in all the stories. The characters in these stories are mostly hill people. Mountain races like Thotawa, Vaduga are shown. On a small scale vulgaris, gpw are shown as human beings. The hill tribesmen who come in male roles are hard workers. He has a hard working body and an owl mind that does not know the outside world. The women who come as female characters are innocent who do not know the outside world. So that he is deceived by others and, cannot break the rules. The characters, who are vulgar and, civilized, plunder the labor and life of the hill people. Pure Malayalam language is used in the stories. The vernacular is also used in the conversation of the hill tribes. vadugha language. Since the stories become the author's experience, it seems to be the best strategy to have the stories set by the teacher. The story is set in the Nilgiris, Wayanad hills, their biographical background, language, culture, customs, etc. The technique used in the stories is good. Having the meaning of the words in their own language helps the reader to understand the story.

A língua Guajá é falada por aproximadamente 250 índios que vivem atualmente nas Terras Indígenas Awá, Caru e Alto Turiaçú, situadas no noroeste do estado do Maranhão. Pertence ao subgrupo VIII da família lingüística Tupí-Guaraní, que inclui também o Takunyapé, o Urubu-Ka’apor, o Wayampí, o Wayampipukú, o Emérillon, e o Zo’é (Rodrigues, 1984, 1985 e Cabral, 1996). Neste trabalho, descrevo mudanças estruturais em processo na fala das gerações mais novas, contrastando esses dados com os das gerações mais velhas e ressaltando possíveis conseqüências do processo de harmonia vocálica, produtivo na fala dos mais jovens, para a estabilidade do sistema de morfemas relacionais, que é um dos traços estruturais mais conservadores nas línguas da família Tupí-Guaraní.PALAVRAS-CHAVE: Línguas indígenas. Tupí-Guaraní. Guajá. Descrição lingüísticaABSTRACTThe Guajá language is spoken by about 250 individuals who live in the Awá, Caru and Alto Turiaçú Indigenous Areas on the northeast of the state of Maranhão, Brazil. It is a Tupí-Guaraní language of the branch VIII, with Takunyapé, Urubú-Ka’apór, Wayampí, Wayampipukú, Emérillon, and Zo’é (Rodrigues and Cabral, 2002). This paper deals with on-going speech structural changes in youngsters, contrasting these data to older generation ones, emphasizing possible consequences of the vocalic harmony process in youngsters’ speech production to the stability of the relational morphemes system, which is one of the most conservative structural feature of the Tupí-Guaraní family. KEYWORDS: Indigenous languages. Tupí-Guaraní. Guajá. Linguistic description.

Sixty years ago the author, an Israeli film student at the University of California, Los Angeles, set out to make a film based on a Brazilian Indian legend which had been set to music by Heitor Villa-Lobos (1887-1959). Filming was carried out among Urubú-Ka'apor Indians in the state of Maranhão. In Belém, capital of Pará, he was joined by German anthropologist Peter Paul Hilbert (1914-1989) of the Goeldi Museum on an adventurous and creative expedition, culminating in a prize-winning art-documentary film and a life-long friendship between the two.

This study aimed to develop a speaking-skill test at the B1 of CEFR, to determine the levels of validity, reliability, and difficulty of each item, and to organize the distinguishing power of each item on the prepared test. This research was motivated by the need of Arabic Language Test as an evaluation activity that required for various purposes. Several universities in Indonesia have also intended the existence of a language test as a requirement for continuing studies to a higher degree or to a place where linguistic proficiency is required or work somewhere. Also, the most important is to upgrade students’ language skills after knowing their language abilities. This test was in the form of an aptitude test or an ability test for each skill in the Arabic language. But in the speaking skill, this test still required preparation and development of more test questions to practice. Apart from the test questions, the method of assessment and the procedures for its implementation also needed to be developed and considered. Then, the researchers took account of the need to compile and make a good test product in speaking skills by following the steps for preparing a standardized test. This was the Research and Development (R&D) with Borg and Gall’s version. The researchers used the ANATES V.0.5 2022 application for processing data and analyzing test results. Based on the results of the study, it was found that the test was feasible because it met the requirements of a good test. The trial results showed high validity and reliability values, and the level of difficulty of each item also had good distinguishing power. Out of a total of 17 questions, 13 questions were stated to be very valid, 2 questions were valid, and 2 questions were striped (-), indicating that these two questions needed to be re-analyzed on what aspects made them less valid so that the questions could be revised. These values were obtained from the results of two trials conducted in the sixth semester.

В бытовавшем в устной форме якутском героическом эпосе издавна сохранялись и передавались утвердившиеся темы, традиционный состав героев, каноны сюжета, композиции в содержании, постоянные стилистические формулы в языке. Однако сколько было олонхо, столько они были разные, и тем они привлекали слушателей, знатоков устного народного творчества, исследователей. Каждый олонхосут мог обогатить установленное содержание олонхо разными приключениями богатырей, основной традиционный образный состав героями с новыми именами, украсить постоянные языковые формулы новыми художественновыразительными средствами или могли чтото пропустить, упростить. Изучая отличия текстов якутских олонхо, принадлежащих разным регионам, исследователи якутской фольклористики утверждают, что олонхо, в зависимости от территории бытования, имеет региональные особенности. Так фольклористами признано существование трёх территориальных традиций центральной, вилюйской и северной. Феномен устойчивости региональных особенностей якутского олонхо в науке до сих пор остается быть актуальным. В статье ведется сравнительный анализ олонхо трех регионов на примере олонхо центрального региона Ёлбёт Бэргэн , олонхо вилюйского региона Кёр Буурай , олонхо северного региона Кётёр Мюлгюн с целью выявления их отличий, особенностей, внесения дополнительных предположений в подтверждение ранее выявленных исследователями утверждений. Результаты анализа методом сравнения привели к выводу, что олонхосуты всех трех регионов следуют образцу сюжетнокомпозиционной структуры якутского эпоса олонхо, так в их олонхо присутствуют мотивы древних олонхо, как описаний героических походов богатырей айыы ради спасения девушек айыы, их сражений с богатырями абаасы, победы, сватовства на спасенной женщине, возвращения на родину со славой победителя, устройства праздика уруусвадьбы в честь победителей и др. Отсутствие мотивов образования трех миров, установления Среднего мира для жизни племени ураангхай саха, назначения богатыря айыы божествами защитником айыы аймага дает возможность предположить, что во всех регионах бытования олонхо постепенно идет упрощение некоторых древних мотивов олонхосутами более позднего периода. The orally existing Yakut heroic epic has long preserved and transmitted established themes, the traditional composition of heroes, plot canons, compositions in content, and constant stylistic formulas in the language. However, how many olonkhos were, they were so different, and so they attracted listeners, experts in oral folk art, and researchers. Each olonkhosut could enrich the established olonkho content with various adventures of the warriors, the main traditional figurative composition with heroes with new names, decorate permanent language formulas with new artistic expressive means, or they could miss or simplify something. Studying the differences between the texts of the Yakut olonkho belonging to different regions, researchers of the Yakut folklore argue that olonkho, depending on the territory of existence, has regional features. So folklore recognized the existence of three territorial traditions: central, Vilyui and northern. The phenomenon of stability of regional features of the Yakut olonkho in science still remains relevant. The article provides a comparative analysis of the olonkho of the three regions using the example of the olonkho of the central region Elbet Bergen, the olonkho of the Vilyuy region Ker Buuray, the olonkho of the northern region Kyotor Mulgun with the aim of identifying their differences, features, and introducing additional assumptions to confirm the allegations previously identified by the researchers. The results of the analysis by comparison led to the conclusion that the olonkhosuts of all three regions follow the pattern of the plot and compositional structure of the Yakut epic olonkho, since their olonkho contain motives of the ancient olonkho, as descriptions of the heroic campaigns of the aiyy heroes in order to save the aiyy girls, their battles with the abaasy heroes, victory, matchmaking to a rescued woman, returning home with the glory of a winner, arranging a Uruu wedding in honor of the winners, etc. The lack of motives for the formation of three worlds, the establishment of the Middle World for tribal life Uraanghay Sakha purpose athlete aiyy protector deities aiyy aimaga makes it possible to assume that in all regions of existence olonkho is gradually simplifying some ancient olonkhosut motives of a later period.

Якутское олонхо уникально сохранением в нем древнего остова эпической сюжетики, сюжетных мотивов, образной системы, образно-художественного языка. Статья посвящается изучению текстов современных авторских произведений в стиле олонхо с целью выявления сохранения в них устойчивых аутентичных эпических традиций, так как в олонхо, в традиционном его понимании, недопустимы искажения и неправильные интерпретации компонентов эпической культуры, созданной сказителями за многие века. Следование традиционным канонам своего национального эпоса является средством сохранения самобытной культуры народа, и потому очевидна актуальность исследования. Предлагается текстологический анализ сюжетно-композиционного строя, мотивного состава, образной системы современных произведений в стиле олонхо. Новизна исследования заключается во введении в научный оборот ранее неопубликованных и неисследованных текстов авторского олонхо Л. С. Афанасьевой и В. В. Семеновой. Источником исследования отобраны авторские произведения, написанные и исполняемые в стиле олонхо талантливых сказителей современности В. В. Семеновой «Көмүс үүннээх, Күүстээх күөннээх, Көгөччөр аттаах, Куоппат куойбат, Куттаҕаһа суох Күн Дибилитэр бухатыыр» (“Богатырь Кюн Дибилитэр”), Л. С. Афанасьевой «Эрэли Бэргэн» (“Богатырь Эрэли Бэргэн”) Верхневилюйского улуса. Результат исследования приведет к установлению сохранения в них устойчивых традиционных элементов, выявлению особенностей современных произведений в стиле олонхо, трансформаций. По итогам анализа установлено: в целом современные авторские произведения В. В. Семеновой, Л. С. Афанасьевой созданы по традиционным канонам якутского национального эпоса. В них придерживаются каноны сюжетно-композиционного строя, мотивного состава и образной системы. В них описывается героическое сватовство богатырей айыы, сражение с богатырями абаасы и их возращение на родину с победой. Авторскими привнесениями являются образ шамана, помогающего богатырю с созвездия Юрдэл, демонстрация матерью невесты простыни – свидетельства чистоты невесты после проведенной молодоженами трех ночей любви, детальное описание ысыаха-уруу («Эрэли Бэргэн»), мотив дождя из бело-молочного божественного напитка, превратившегося в озеро, отсутствие описания встречи богатыря с женой на родине богатыря (“Богатырь Кюн Дибдилитэр”). Встречающиеся авторские привнесения – в пределах допустимости, они не влияют на общую картину. Все это приводит к мысли: якутский эпос олонхо, испытывая некоторые изменения, продолжает бытовать в своем традиционном аутентичном понимании. The Yakut olonkho is unique in its preservation of the ancient framework of the epic plot, plot motifs, figurative system, figurative and artistic language. The article is devoted to the study of the texts of modern author's works in the olonkho style in order to identify the preservation of stable authentic epic traditions in them, since in the olonkho, in its traditional sense, distortions and incorrect interpretations of the components of the epic culture created by storytellers over many centuries are unacceptable. Following the traditional canons of one's national epic is a means of preserving the original culture of the people, and therefore the relevance of the study is obvious. A textological analysis of the plot-compositional structure, motive composition, figurative system of modern works in the olonkho style is offered. The novelty of the study lies in the fact that the problem of a special study of works written in the olonkho style is a little-studied area in the Yakut folklore science. The author's works written and performed in the style of olonkho by one of the talented storytellers of our time V.V. Semenova “Kemus uunnekh, Kusteekh kuennekh, Kegecher attaakh, Kuoppat kuoibat, Kuttagaha suoh Kun Dibiliter bukhatyyr” (“Bogatyr Kun Dibiliter”) and L.S. Afanasyeva "Ereli Bergen" ("Bogatyr Ereli Bergen") of Verkhnevilyuisky district. The result of the study will lead to the establishment of the preservation of stable traditional elements in them, the identification of the features of modern works in the olonkho style, the establishment of transformations. Based on the results of the analysis, it was established that, in general, modern author's works by V.V. Semenova, L.S. Afanasyeva were created according to the traditional canons of the Yakut national epic. They adhere to the canons of the plot-compositional structure, motive composition and figurative system. They describe the heroic courtship of the aiyy bogatyrs, the battle with the abaasy bogatyrs and their return to their homeland with victory. The author's contributions are the image of a shaman helping a hero from the constellation Yurdel, a demonstration by the mother of the bride of a sheet - evidence of the purity of the bride after the newlyweds spent three nights of love, a detailed description of Ysyakh-Uruu ("Ereli Bergen"), the motif of rain from a white-milk divine drink that turned into lake, the absence of a description of the meeting of the hero with his wife in the homeland of the hero (“Bogatyr Dibdiliter”). Occurring author's introductions are within the limits of admissibility, they do not affect the overall picture. All this leads to the thought: the Yakut epic olonkho continues to exist, but with some changes.

This paper addresses primary stress in Brazilian Portuguese considering the sonority ofvowels for the construction of feet. In our proposal, in words, as saci and urubu for example, primarystress foot is iambic because [i] and [u], when positioned at the end of a prosodic word, are consideredgood peak elements. A constraint against the positioning of i/u in the weak part of the foot, *T/i,u,ranked higher in the hierarchy, can explain how a trochaic language, like Brazilian Portuguese, canpresent iambic feet in some words.

Data are presented to show whether the terms for ‘tree’ in two different but related languages, Ka’apor or Urubu-Ka'apor (henceforth, Ka'apor) and Mbya-Guarani (henceforth, Mbya), are in fact cognate terms in having the same intensional meanings. These terms are myra (Ka'apor) and yvyra (Mbya). Data gathered from freelisting exercises among the two groups are compared to knowledge of architecture and dynamics of trees, basal area of trees, and local forestry in the two habitats to determine whether psychological salience rankings of taxa listed in the freelists match features of the environment and of the flora. Psychological salience is inferred by Smith's S. The data indicate that philosophical and linguistic axioms regarding trees as 'big and hard' tend to be supported statistically and ecologically with data from the two different languages in the two different forests of this study. Keywords: tree terms, Tupí-Guaraní languages, philosophical deduction, psychological salience