kimerajamm
Joined: 28 Nov 2010
Posts: 785
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 Posted: Wed May 11, 2011 2:00 pm Post subject: This syllabary is supplemented |
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Another decipherment, self-published by Mary de Laat in 2009, covers three texts, A, B, and E.[87] All three are proposed to consist of nothing but extended dialogue. Horley (2010) is a critical review.
De Laat proposes that the script consists of 50–60 basic glyphs, which fuse together and form ligatures as in earlier proposals. 35 of these are identified with specific syllables, largely completing a 45-unit CV syllabary in which vowel length, /h/, and glottal stop are not distinguished. Thus glyph 600 glyph 600, identified as /ta/, may also be used for /taa/, /taha/, or /taʔa/, though the history of how those glyphs were identified is not presented. A dozen of the sound values have proposed pictographic etymologies. For example, 600 glyph 600 /ta/ would be from taha 'frigatebird' and 700 glyph 700 /ka/ from ika 'fish'. This syllabary is supplemented by several disyllabic glyphs for common grammatical particles, haka "to do", mai "from, since", nei "this, here", kai "eat" (used in negation), ina "no, none", and tou (plural). Other than nui "big, great" and the oddly specific glyph vae (vae "to choose" ~ vaʻe "a foot"), none of the glyphs are used logographically or as a rebus.[note 25] The proposed sound values are incompatible with Pozdniakov in some cases. For instance, to the two hand shapes 6 glyph 6 and 64 glyph 64, which Pozdniakov among others demonstrated are allographs, de Laat assigns different sound values, /i, hi, ʔi/ and /ki/, respectively; in other cases, glyphs not identified as allographs in any statistical study are given the same sound value by de Laat. Fused glyphs are not read in any one direction: they may be top to bottom, bottom to top, or even both within a single fused glyph.[42]
five pound
underpinning melbourne |
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