#volapuk

[yourfavespeaksaconlang]

stanford pines from gravity falls speaks volapük and lojban! :-)

Stanford Pines from Gravity Falls speaks Volapük and Lojban!

[renegade-hierophant]

Volapük, Esperanto, Ido, Novial, &c, &c, are dead, far deader than ancient unused languages, because their authors never invented any Esperanto legends.

J. R. R. Tolkien, Letters #180 to ‘Mr Thompson’ (draft), 14 January 1956

[musicollage]

Volapuk – Slang. 1997 : Cuneiform Rune 94.

! enjoy the album ★ donate a coffee !

[totally-not-an-awkward-okapi]

Okay so I’m taking a class on educating English Language Learners and one of assignments is to go through Pennsylvania’s English Learner Data and I need to get this off my chest because it’s driving me insane.

In 2013 there was someone attending a school in Pennsylvania who needed help with their English language proficiency who could fluently speak VOLAPÜK. VOLAPÜK the language made up by a Catholic priest in 1880 Germany with only 20 known speakers as of 2000. One of them was in a Pennsylvanian school in 2013.

[victusinveritas]

Translations of the idiom 'It's Greek to me' in different languages.

[fair-lead]

these are so fun... so fancy...

[publicdomainreview]

During one sleepless night in 1879, German priest Johann Schleyer felt a Divine presence telling him to create a universal language. The result was Volapük. @ArikaOkrent explores the rise + fall of the first invented language to gain widespread success: https://publicdomainreview.org/essay/truth-beauty-and-volapuk

[tower-of-hana]

Zamenhof: Hmm I need a letter for /u̯/

Everyone: whispering <w>

Zamenhof: If I use <u> then my language won't be very consistent

Everyone: <w>

Zamenhof: damn if I use <ǔ> then everyone will make fun of me

Everyone: yelling <w>

Zamenhof: and if I use the funny volapuk letter all the Europeans will call me a beta cuck

Zamenhof: Aha I've got it!

Zamenhof: I'll use <ŭ>

Everyone:

15/19/180

[ynneleac]

Top 5 of your fake languages

can i cheat and count all of tolkien's as one

volapuk

interlingue is probably my fave euro-flavoured lang

nimełwu because i feel obligated to include my own

dutch

my least favourite is lojban i hate lojban it's so ugly

[love-laugh-lobotomy]

how to swear in Esperanto

Diable - the devil

Action de Akademio - acts of the academy (if you want to get creative and swear on the International Esperanto Academy)

Fiki - to fuck

Feko - shit

Kaco - dick

Via patrino - your mom

Me krokodilu - literally translates to ‘don’t crocodile’, used to tell non Esperanto speakers to shut up when they interrupt Esperanto conversation 

Volapukajxo - nonsense, gibberish. Comes from the word ‘Volapuk’, which is the name of an early attempt at an international language and a competitor of Esperanto 

Kion vi diris pri mia patrino? -

What did you say about my mother?

Nu, parD00000nu min! - Well exCUUUUUSE me!

[amandineandre]

Curriculum Vitae

2009 : Master de lettres modernes à l'université François Rabelais à Tours sur les écrits de Danièle Collobert. Direction : Jean-Marc Houpert.

Comme éditrice:

Revue en ligne, La Vie Manifeste, depuis 2011.

Revues papier

Contre-ciel 1.

Avec Mohamed Amer Meziane, Amandine André, Federico Campagna, Anna Carlier, Pierre Chopinaud, Benjamin Fouché, Justine Gensse, Angélique Humbert, Christine Lavant, Emmanuel Moreira, Frédéric Neyrat, Olivia Tapiero

Hector 3. Journal. 20 pages. - Janvier 2020, 500 exemplaires / Épuisé

contributions: Amandine André - Anna Carlier - Justin Delareux - Claude Favre - Benjamin Fouché - Thomas Ferrand - Laurent Jarfer - Jacques-Henri Michot - Emmanuel Moreira

Hector 2. Journal. 20 pages. - Juin 2019, 500 exemplaires / Épuisé

contributions: Emmanuel Adely - Amandine André - Anna Carlier - Antoine Chevalier - Justin Delareux - Stéphanie Eligert - Claude Favre - Emmanuel Moreira

Hector 1. Journal. 20 pages. - Mai 2019, 500 exemplaires / Épuisé

contributions: Emmanuel Adely - Amandine André - Angélica de Ayala - Anna Carlier - Ronan Chéneau - Justin Delareux - Dalie Giroux - Emmanuel Moreira

Face A : Tatcher is dead, Amandine André, Face B : Medvedkine for ever, Frédéric Neyrat, La vie manifeste, 2013.

Face A : Tatcher is dead, Marie de Quatrebarbes, Face B : Medvedkine for ever, Maël Guesdon, La vie manifeste, 2013.

Face A : Tatcher is dead, Jérôme Bertin, Face B : Medvedkine for ever, Sylvain Courtoux, La vie manifeste, 2013.

Workshop - Conférences - Ateliers d'écriture - Laboratoires:

2022. Conférence et workshop à destination des étudiant·es en 4e année Art / Master Monstre. ESAAA ( école supérieur d'art Annecy Alpes). Invitée par Anne Kawala.

2018. Atelier d'écriture à la BAnQ, Bibliothèque et Archives nationales du Québec (Montréal). Encadré par Melissa Correia pour La ruche de poésie.

2018. Atelier d'écriture à la Maison de la Littérature du Québec. Proposition d'écriture: le point de vue des non-humains. Canada.

2018. Le Lieu, centre d'art actuel, à Québec. Mise en espace, dispositif poétique, performances. Invitation par Richard Martel, avec Laurent Cauwet, A.C. Hello, Justin Delareux, Stephane Nowak Papantoniou. Canada.

2015-2016. Chantier(s) poétique(s). CICLIC, Agence régionale pour le livre, l'image et la culture numérique.

2011. Stationnements autorisés, Chinon. Invitée comme artiste et critique danse.

2010. Festival On marche à Marrakech, invitée par Taoufik Izeddiou, résidence de spectateurs.

2007-2010. Centre chorégraphique de Tours sous la direction de Bernardo Montet. Documenter, archiver, penser.

Créations et collaborations artistiques :

Depuis 2007. Créations radiophoniques avec Emmanuel Moreira.

Le soleil du nom. 2016. Chorégraphie, danse : Bernardo Montet. Musique : Pascal Le Gall. Texte et lecture : Amandine André.

Call center radio. 2009. Dispositif radiophonique au Volapuk à Tours.

Collaborations dramaturgiques :

2012. Assistante dramaturge pour Progénitures, texte de Pierre Guyotat, conception et réalisation Tal Beit-Halachmi, compagnie Talita Koumi.

Lectures, performances, festivals :

Grand terrain, Marseille, sept. 2012

Monte-en-l'air, Paris, nov. 2012

Centre international de poésie Marseille, juin 2013

Manifesten, ouverture de l'espace, Marseille, sept. 2013

Centre européen de la poésie Avignon, nov. 2014, Imprécations, premier mouvement

Monte-en-l'air, mai 2015 présentation collective de l'ouvrage Redrum

Cinéma & poésie, Manifesten, Marseille, mai 2015

Marché de la poésie, scène centrale, anniversaire Al dante, Paris, juin 2015

La nuit remue 13, bibliothèque Marguerite Audoux, Paris, juin 2015

Festival A bras le corps, Paris, novembre 2015

Galerie Simple, invitée par A-C Hello, Paris, novembre 2015

Librairie Tchann, avec la revue Nioques, Paris, janvier 2016

Centre d'art Le triangle, Rennes, mars 2016

Ensa, chantiers poétiques, Le soleil du nom, avec Bernardo Montet & Pascal Le Gall, Bourges, mars 2016

Médiathèque Julien Gracq, invitée par Dixit Poétic, Plélan-le-Grand, avril 2016

Les mercredi de Montevideo, Marseille, mai 2016

La Guillotine, Rencontre & lectures avec la revue GRUPPEN, Montreuil, juin 2016.

Librairie de L'Autre livre, Paris, juin 2016

Festival MIDIMINUIT, solo, Nantes, vendredi 9 décembre 2016

Festival MIDIMINUIT, duo expérimental avec Hélène Breschand, Nantes, samedi 10 décembre 2016

Festival Ecoute/Voir, Le soleil du nom avec Bernardo Montet & Pascal Le Gall, Tours, janvier 2017

Maison de la poésie de Paris, invitée par Fabrice Thumerel & Remue.net, Paris, mai 2017

Maison Victor Hugo, soirée Coalition, invitée par Frank Smith, Organisée avec la Maison Victor Hugo et Concordan(s)e Paris, mai 2017.

Librairie Charybde, sortie de la revue La moitié du fourbi, octobre 2017.

Le Lieu, centre d’art actuel, à Québec, 2018.

Librairie Le port de tête avec Poésie partout & Mélissa Correia, Montréal, 2018.

“Cris poétiques” au Vélo-Théâtre d'Apt. Soirée présentée par Florence Pazzottu. 25 mai 2018.

Festival Seconda, Paris, janvier 2019.

Ut pictura poesis, Poésie is not dead, Paris, mars 2019.

Librairie Texture, sortie de la revue PLI, Paris, mars 2019.

Festival MidiMinuitPoésie, 20ème éditions, Nantes, octobre 2020.

Festival Poésie Goutte d'Or, deuxième édition, Théâtre Lavoir Moderne Parisien, Paris, 2020.

Promenades poétiques, lecture d'Anatomique comme chez l'habitant, Paris, février 2021.

Festival TOURNEZ LA PLAGE, la Ciotat, août 2021.

Maison André Breton, Périphérie du marché de la poésie, Saint-Cirq-Lapopie, octobre 2021.

Chez les éditions Art et fiction, invitation par Poï (Alain Freudiger), Lausanne, Suisse, juillet 2022.

La Fab, Poetry day, Patti Smith, Paris, octobre 2022.

Nux Vomica, invation Rina Kenovic, Paris, novembre 2022.

Festival Bologna in Lettere 2023, International Poetry Review, Italie, 2023.

Festival hibernation, librairie o., invitée par les éditions L'extrême contemporain, Paris, janvier 2023.

Film Gallery, invitée par Sport National, Paris, 11 mars 2023.

Maison de la poésie de Paris, juin 2023.

Nouveau Théâtre de la Vidalbade à Aguts, août 2023.

Fondation FIMINCO. MAD. Romainville, 9 septembre 2023.

Arpenter, invitée par Littérature Supersport, Maison Folie Moulin, Lille, 6 octobre 2023.

Les Cafés littéraires de Montélimar, samedi 14 octobre 2023.

Présentation de la revue Contre-ciel, EXC librairie, Paris, 9 janvier 2024.

Soirée Contre-ciel, Café de la Loire, Paimboeuf, 20 janvier 2024.

Maison de la poésie de Rennes, Soirée fantôme, au Babazula, Rennes, 13 février 2024.

Maison de la poésie Bordeaux, villa Valmont, Bordeaux 9 mars 2024.

Marché de la poésie, Périphérie #2, médiathèque de la Canopée, Paris, 16 mai 2024.

Centre International de poésie, Marseille, 15 juin 2024.

PRESSE

Quelque chose :

-Mediapart, Jean-Philippe Cazier, avril 2015

-A bras le corps, Véronique Bergen, avril 2015

-Les bonnes feuilles, France culture, juin 2015

-Cahier critique de poésie, Stéphane Nowak, août 2015

-Libr-critique, Emmanuèle Jawad, octobre 2015

-Mouvement, Gérard Mayen & Nox, novembre 2015

De la destruction :

-Mouvement, Nox, février 2016

-Diacritik, Jean-Philippe Cazier, mars 2016

-If n°43, Quentin Margne, mars 2016

-Le temps des écrivains, France culture, Christophe Ono dit Biot, mars 2016

-Sitaudis, Emmanuèle Jawad, avril 2016

-Libr-critique, Fabrice Thumerel, mai 2016

-Radio grenouille, Emmanuel Moreira, mai 2016

-Dissidences, Frédéric Thomas, août 2016

-Note de lecture, Anne Kawala, in poésie critique, février 2016

-Note de lecture, Philippe Aigrain, in atelierdebricolage.net, juin 2016

Circle of dogs :

-The Bind, Joyelle McSweeney, juin 2017

Anatomique comme :

- Amandine André, tremblé par le désir, Lucien Raphmaj, Diacritik, mars 2021.

- Amandine André, Anatomique comme, par Ahmed Slama, Libr-critique,

- Amandine André, Anatomique comme, Adrien Meignan, Un dernier livre avant la fin du monde, 2021

Aberrants & dinosaures :

- Aberrants & dinosaures, Amandine André, Nicolas Le Golvan, dissonances N°46, 2024.

- Aberrants & dinosaures, Amandine André, Christophe Stolowiki, sitaudis, 2023.

- Contre mesure, Guillaume Richez, Les imposteurs, 2023.

- L'esprit d'un enfant qui tournoie, Yannick Haenel, Charlie Hebdo, 2023.

- Séquelle #43. Amandine André loin du texte, quand le poème «  tournoie comme un enfant. », Alain Nicolas, l'Humanité, 2023.

- Amandine André, Aberrants & dinosaures, Adrien Meignan, la vie sans principe, 2023.

- Amandine André : encombrer le réel, Rodolphe Perez, zone critique, 2023.

- Amandine André, Aberrants & dinosaures, Marc Verlynde, la viduité, 2023.

- Le poème, zone de turbulence, Benjamin Fouché, lundimatin, 2023.

Pour l'ensemble de la création

-Amandine André, Frank Smith : les liens invisibles, Mediapart, Patrice Beray, décembre 2016

-Jet fm radio, Nantes, décembre 2016

-Entretien pour Entr'revue

-Gazette des lycéens, projet scolaire de critique littéraire mené par Sophie G. Lucas.

[archival-of-fae]

Pt: Genderhifey

Genderhifey: a gender that is ethereal, simple, cantankerous, bright, colorful, fairy-like, magical, male-aligned, and related to the Fae, fairies, and magic. Etymology: Volapuk, “hifey” meaning “fairy (male)” :End Pt

Genderhifey

Genderhifey: a gender that is ethereal, simple, cantankerous, bright, colorful, fairy-like, magical, male-aligned, and related to the Fae, fairies, and magic. Etymology: Volapuk, “hifey” meaning “fairy (male)”

[thegreensunn]

(x)

[skriak]

Esperanto and gender

*Disclaimer for any esperantistoj who see where this is going: I'm not a radical gender extremist, I swear! That being said, the ongoing discussion surrounding the way Esperanto handles gender is hard to ignore if it's a topic you think about a lot, so here's my tentative contribution.*

In case you're not aware, Esperanto is a constructed language created by Dr Ludwig Zamenhof in the late 1800s. His dream was that it would become a global second language, not replacing other tongues but acting as a unifying auxiliary. That dream never worked out for various reasons, including two rather big wars you might have heard of, but Esperanto remains a thriving global subculture with potentially a couple million speakers, including some raised with it from birth.

Esperanto is defined by its regular rules and borrowing of words from existing languages (mainly romance and germanic), which makes it famously easy to pick up, at least in comparison to the endless half-rules of natural languages. One or two aspects might take some figuring out, but almost nothing in the language has ever struck me as genuinely illogical.

Learning Esperanto in the 21st century, though, you'll probably notice pretty quickly there's something going on with gender. Even the DuoLingo course has family words as one of the first lessons. Let's demonstrate:

patro = father, patrino = mother

So the only difference between these words is that "patrino" features the -in- suffix, which denotes femininity. This is fine in theory, but the issue arises that there's no male suffix. This means that Esperanto effectively treats maleness as default, while femininity is treated as optional.

Now it's certainly true that, especially when Zamenhof created his opus, it was common for women to be treated as secondary in many regards, and languages often reflected this. But times change, and Esperanto's approach to gender is one of the only aspects that betrays its age.

And thus there have been propositions as to how one might improve the situation. The most prevalent is probably the -iĉ- suffix (eech) which is intended to be the male equivalent to -in-. So "patro" would become a neutral word for "parent", and "patriĉo" would be the new word for "father". This solution doesn't solve the problem of words like patro being sourced from the Latin word for father, but it's a definite improvement.

One quirk of the Esperanto community, though, is that there's a definite anxiety around change. This is understandable: not only does the nature of Esperanto encourage more rigidity than a traditional language, but there's been at least one significant schism in the community (the Ido offshoot) that remains controversial to this day. So a degree of trepidation makes sense.

That said, Esperanto's handling of gender has been a bit of an elephant in the room for some time, and will only feel more awkward as other languages continue to become more progressive. Something like the "iĉ" suffix is a relatively minor change, hardly a revolution that threatens any central tenet of Zamenhof's dream, and already sees a fair bit of use despite regularly causing controversy.

Esperanto was ahead of its time in many ways and remains a fascinating historical side note, and ultimately I think a language meant to unite humanity shouldn't treat half the human population as effectively second-class when simple solutions exist.

[lassieposting]

Ooh I can take a crack at this! Translation for English speakers:

From The Lord of the Rings To Dune: How To Create A Language

The creators of new languages for works of fiction explain how they invented the likes of Chakobsa or Valyrian.

(Original article by Jaime Rubio Hancock, 31.03.2024)

The Fremen people of the movie Dune live in the desert, where we find Paul Atreides, the saga's protagonist, and they speak a language called "Chakobsa". In Frank Herbert's books, the language appears as phrases and random words, but for the movies (directed by Denis Villenueve) - especially the second film - something more was needed. So linguists Jessie & David J Peterson created an entire language, complete with vocabulary, morphology and grammar.

As they explained in a video call, it's not always necessary to construct an entire language for a book:

"The author can control what the reader sees and hears," David explains, "And maybe it's enough to simply say that 'they [the characters] speak in their language". But in a show or a movie it's not so easy to use those kinds of techniques because the audience sees what the cameras show. For this reason, it's often not enough to include the odd phrase like, "Vii minaazashaho vejii ho Chausij?" ("Do you really think he's the Chosen One?") You might also need to know how to say, "Nice coffee, mate," ("Oggori cheshii, e akshahii,") in addition to putting together a structure to help create new words and phrases if they're needed.

The Petersons began with some terms included in Herbert's novels, in a language influenced by Romani and Slavic languages with terms from Arabic. These elements served as a starting point, in a project similar to that of Dothraki and Valyrian from the series Game of Thrones (adapted from the languages included in the works of George R. R. Martin), which David worked on alone.

Although they were not starting entirely from scratch, constructing a language may seem to be an unfathomable task. Where do you begin? Is it enough just to invent a list of words? How does the grammar work? How should it sound? These are some of the steps addressed by language creators (called ideolinguists, or more commonly, conlangers).

The Precursors: There have been constructed languages since long before fantasy and science fiction sagas: about nine centuries ago, religious figure and philosopher Hildegard of Bingen invented her "lingua ignota". This language, as David J. Peterson explains in his book The Art Of Language Invention, is more a list of words similar to Latin, created with aesthetic and religious objectives, but it's still one of the first examples of how the more than 7,000 languages spoken worldwide may fall short for us.

Precisely, one of the first language creators wanted to put something in order after the fall of the Tower of Babel. As Umberto Eco wrote in The Search For The Perfect Language (17th or 18th century), there were dozens of attempts to create a logical, universal language that would avoid the semantic differences [of natural languages] and which would help us come to rational, indisputable conclusions. However, the work of thinkers such as John Wilkins, Joachim Becher and Cave Beck never resolved any great philosophical dispute. Nor did any attempts to create an auxhiliary international language to help avoid international conflicts - such as Volapuk, created in 1879 by German religious figure Johann Martin Schleyer, or Esperanto, created in 1887 by Ludwik Lejzer Zamenhof - come to aught.

The first writer to use a completely constructed language was J. R. R. Tolkien. The British author of The Lord of the Rings, first published in 1954, worked for decades on vocabulary and grammar for Elvish languages such as Sindarin and Quenya.

2. First Things First: Culture. In his book, Peterson emphasizes the importance Tolkien gave to the history and culture of his world: languages are not just experiments and mind games (although they can be both those things) - they are born in a society and they evolve alongside it. This could be our history if, for example, we wanted to invent another language derived from Latin, but we could also situate ourselves in a completely different world, as happens with the languages of Game of Thrones. We could also create alien languages, as David J. Peterson did for the series Defiance, creating five languages for different races of extraterrestrial humanoids.

In the case of Dune, Jessie & David J. Peterson had to distance themselves from some of the ideas of the novels, in order to take into account what we know about the evolution of language. In the books, many of the words on the planet Arrakis are identical to those used on Earth, despite thousands of years having passed. "It's not reasonable for them to be recognizable," David explains.

Some language creators also build entire worlds, such as American writer Mark Rosenfelder, creator of Verdurian, a language spoken by 55million people on the planet Almea in his book In The Land Of Babblers. On videocall, Rosenfelder recounted that when working on a new language, he begins with a very detailed culture and takes into account the geography, economy, customs and history of the speakers.

3. Know your fundamentals. Jessie and David J. Peterson explain that they prefer to begin with the system of sounds used in the language and later move onto the morphology, syntax and the rest of the grammar system. They move from the most basic to the most complex parts of languge creation, in order to build on solid foundations.

There are dozens of questions. Which consonants and vowels do you need? Are there cases, as there are in Latin? Is the word order of a sentence fixed? How do you indicate plurality? How are verbs conjugated? Do you need a different writing system, like in Chakobsa? It could also be a sign language - for Dune, the Petersons also created the "battle language" of the Atreides, although in this case it's treated more like a code than a language.

Constructing words, Jessie Peterson's favourite part, doesn't only consist of inventing a list of terms that sound unusual. "It's not about saying, for example, that 'this word means sheet', but about knowing the structure of the words and applying it." It's a little like how in Spanish we do not simply adopt new words (for example, tuit, meaning "tweet"), but create derivatives in a natural way (tuitear, meaning "to tweet"; tuitero, meaning "author of a tweet, tweeter")

One question that doesn't have an easy answer is when to stop. When can we decide that the language is "finished"? The answer is usually "When the linguist (or the producer of the film the linguist is working on) decides that that is enough". Which could be never - Rosenfelder continues working on Verdurian even 30 years after first publishing the language online.

4. Why are we creating the language? Only a few languages are created for a work of fiction. Aside from the ones already mentioned, you could add Na'vi from the movie Avatar, created by linguist Paul Frommer, or Klingon, created for Star Trek by Marc Okrand. This is one of the most well-known and popular conlangs, with translations of Shakespeare, dictionaries and original works, as well as Learn Klingon courses on language apps.

Rosenfelder explains that creating a complete language for a novel or series - your own or someone else's - is not always necessary, although "It can add attractiveness and realism". But there are thousands of conlangers making languages purely for pleasure, and without thinking about whether it could end up in a film or book. They share their creations in forums, where they receive comments from other conlangers on how to improve their work, and often they begin with Rosenfelder's online guide, published online in 1996 and later expanded upon in various books.

Some of the Petersons' favourite languages are exactly those invented by conlangers just for fun. In his book, David speaks about Rikchik, a language invented by Denis Moskowitz for a race of intelligent aliens who communicate with their seven tentacles. Rosenfelder adds the example of Fith, created by Jeffrey Henning with a structure similar to that of some computer programming languages. As Jessie Peterson explains, "When someone constructs a language, they can express their creativity throughout the entire process." In her opinion, it's about "the best way of playing with language."

Very nice conlang article in El País with me and Jessie if you can read Spanish.