Relevant bibliographies by topics / Sgaw Karen language

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Academic literature on the topic 'Sgaw Karen language'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Sgaw Karen language"

1

Pustet, Regina. "Copulas in Sgaw Karen." Studies in Language 26, no. 3 (November 1, 2002): 595–612. http://dx.doi.org/10.1075/sl.26.3.05pus.

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Many languages have copula systems involving more than one copula. In such languages, the functional scopes of the participating copulas vary. This kind of typological variation has not yet been studied in great detail. In Sgaw Karen, three copulas exist, and the functional differences among these can be defined at the semantic as well as at the pragmatic level. For instance, the contrast between the copulas mewæþ and kʔ seems to be coextensive with the notional difference between nouns and adjectives as postulated by theorists such as Croft, Langacker, and Wierzbicka.
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2

Jitwiriyanont, Sujinat. "Ban Pa La-U Sgaw Karen Tones: An Analysis Of Semitones, Quadratic Trendlines and Coefficients." MANUSYA 15, no. 2 (2012): 60–77. http://dx.doi.org/10.1163/26659077-01502004.

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Each dialect of the Sgaw Karen language has a different tonal system. Despite the different number of tones, all of the previous studies agree on the fact that all tones of Sgaw Karen are level tones. However, according to my phonological analysis of the tonal system of Ban Pa La-u Sgaw Karen, this dialect has a contour tone. The tonal system comprises four tones, i.e. /low/, /mid/, /high/ and /falling/ occurring in nonchecked syllables. The high and low tones also have allotones in checked syllables. To confirm my analysis of the tonal system and the new finding of a contour tone in this Sgaw Karen dialect, an acoustic analysis of the tones occurring in citation forms was attempted. The analysis included three parts: (1) semitones to illustrate the pitch shape and height; (2) quadratic trendlines to indicate the direction and degree of pitch change; and (3) coefficients to show the generalization of each tone and the discrimination among tones.
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3

Sawanakunanon, Yanin. "Segment Timing in Twelve Southeast Asian Languages." MANUSYA 17, no. 3 (2014): 124–56. http://dx.doi.org/10.1163/26659077-01703007.

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In several studies the duration of segments (i.e. consonants and vowels) is measured to classify languages according to their speech rhythm. This research investigates whether Principal Component Analysis (PCA), a new method of analyzing segment-timing parameters for language classification, can be used to classify twelve Southeast Asian languages according to their timing patterns. The twelve Southeast Asian languages examined are Malay, Cebuano, Standard Thai, Southern Thai, Tai Yuan, Vietnamese, Hmong, Mien, Burmese, Sgaw Karen, Mon and Khmer.
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Luangthongkum, Theraphan. "Proto-Karen (*k-rjaƞA) Fauna." MANUSYA 17, no. 3 (2014): 86–123. http://dx.doi.org/10.1163/26659077-01703006.

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Even though the reconstruction of Proto- Karen has already been attempted and presented in different ways by a few linguists, some serious disagreements among them on some major points have been found. The research objective, here, is to offer a new look at the Proto-Karen phonology and lexicon. However, the emphasis of this paper is on the reconstruction of Proto-Karen fauna. A wordlist consisting of 2,000 items with English and Thai glosses divided into 21 sections based on semantic fields was devised. The data on the six Karenic languages spoken in Thailand, i.e. Pa-O (two varieties), Kayan, Kayah, Kayaw, Pwo (two varieties) and Sgaw (two varieties) was collected by the author at seven research sites in Thailand from January 2009 – January 2012. They represent Northern, Central and Southern Karen languages. The cognate words found in the Bwe Karen Dictionary (Henderson 1997) were added. To analyse the patterns of sound correspondence, the comparative method was applied with an awareness of areal linguistic features due to language contact. A Proto-Karen (*krjaƞ A) phonology and lexicon were reconstructed. With regard to the Proto- Karen phonology, the relationship between the onsets and tones is quite straightforward, so it is not difficult to reconstruct, unlike the rhymes which, in some cases, are problematical resulting from vowel harmony and the loss of final consonants. The 73 reconstructed forms of Proto-Karen animals are presented and the Proto-Karen tones, onsets and rhymes drawn from Proto-Karen Phonology and Lexicon (L-Thongkum, 2013, ms.) are provided in the Appendix.
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5

Ribó, Ignasi, Sitthichok Samachitloed, Prapawarin Noopan, Chanakan Satrakom, and Papawarin Kotchamit. "“Kox Kwai Kauv Kox Kwai “:1 Ecopoetic Symbolisation in Pgaz K’nyau Oral Poetry." Journal of Ethnology and Folkloristics 15, no. 1 (June 1, 2021): 103–39. http://dx.doi.org/10.2478/jef-2021-0007.

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Abstract This article* presents the transcription, translation, and annotation of an original performance of hta, a traditional form of oral poetry in Sgaw, the language of the Pgaz K’Nyau (Karen) people of northern Thailand. This performance was recorded during ethnopoetic fieldwork carried out in two villages in the province of Chiang Rai.2 The hta is then analysed to understand the operations of ecopoetic symbolisation that bring particular nonhumans into the domain of human language. This analysis reveals that a metaphorical mode of symbolisation is extensively used throughout the hta to overcome human/nonhuman allotopies by means of implicit or explicit semic transformations. This seems to indicate that a naturalistic mode of identification underlies the whole poem, a conclusion that calls into question the essentialising and mythifying portrayal of the Pgaz K’Nyau as pre-modern and animistic indigenous stewards.
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6

Kerdpol, Karnthida. "Formant Transitions as Effective Cues to Differentiate the Places of Articulation of Ban Pa La-U Sgaw Karen Nasals." MANUSYA 15, no. 2 (2012): 21–38. http://dx.doi.org/10.1163/26659077-01502002.

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The Sgaw Karen dialect of Ban Pa La–u, Amphoe Hua Hin, Thailand, has four nasals: /m/, /n/, /ɲ/, and /ŋ/, that appear in syllable–initial position. Review of the relevant literature indicates that initial /ɲ/ has been less studied acoustically due to the lack of palatal nasals in the consonant systems of most languages. Thus, this Sgaw Karen dialect is suitable for investigating the place of articulation of nasals.
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7

Gilhooly, Daniel, and Chris Mu Htoo. "More than names on a roster: the many meanings behind Sgaw Karen names." Journal for Multicultural Education, March 31, 2022. http://dx.doi.org/10.1108/jme-11-2021-0207.

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Purpose The purpose of this paper is to demonstrate how teachers can use their Sgaw Karen students’ names as a means to gaining awareness of their students’ home culture, language and personal stories. Design/methodology/approach This case study uses interviews with four Karen families to explore the meanings behind the names and nicknames given to Karen individuals. Findings The findings of this study reveal that Karen names can provide teachers important insights into Karen culture, history and language. Moreover, Karen names can also provide important biographical information about the student. Research limitations/implications This study only focuses on Sgaw Karen names and does not include other Karen subgroups like the Pwo Karen, who are also resettling in the USA. This study does not include all Sgaw Karen names, but the authors have made efforts to include Karen names from various regions of Burma and of different religious backgrounds. Practical implications Teachers and others working with culturally and linguistically diverse students like the Karen will gain a better understanding of the various ways that names are given across cultures. While this paper focuses on one particular ethnic group, it is believed that teachers need to expand their notions about how other non-European groups name their children and how these names may reveal something about the student’s heritage culture, history, language and the unique lived experiences of their students. Social implications Too often teachers and others working cross-culturally do not realize that other cultures follow different naming practices than those used in the USA. Teachers often mispronounce or misunderstand students’ names when the student comes from a cultural group unfamiliar to them. This paper helps a general audience better realize the unique approach Karen culture takes to naming children and how these names are often transformed to fit American naming conventions. As the title suggests, Karen students often feel embarrassed and take on a negative opinion of their given name as a result of a lack of awareness by teachers and others. Originality/value This paper provides a unique perspective in the literature on the ways cultural naming conventions can serve teachers aspiring to incorporate biography-driven instruction into their classroom practices.
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8

Fujimura, Hitomi. "The twofold challenge for Karen Baptist intellectuals in colonial Burma: A national claim and its failure." Journal of Southeast Asian Studies, November 3, 2022, 1–24. http://dx.doi.org/10.1017/s0022463422000613.

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Two years after the Anglo-Burmese War, with the British colonial takeover of Burma complete and yet still subject to outbreaks of rebellions, a small group of Karen Baptist intellectuals in Rangoon who formed the Karen National Association (KNA), attempted to assert a political claim to Karen nationhood. This article focuses on two letters, in English and Sgaw Karen, presented by Karen delegates on the occasion of the ceremony to celebrate the Golden Jubilee of Queen Victoria in 1887 in Rangoon, to investigate the colonial politics of loyalty and national claim. It argues that the letters were written for two different audiences, and by doing so the Karen Baptists were asserting dual claims; one directed at the British colonial authorities and the other, the wider population of Karen in Burma, with their multiple Karennic languages and religious and other affiliations. Both appeals failed to get the desired responses, however. This article then discusses the contradiction that this assertion of Karen nationhood alienated the Baptist leaders from their own diverse community.
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9

Prihantono, Kahar Dwi. "ANALISIS STILISTIKA SENO GUMIRA AJIDARMA DALAM CERPEN REMBULAN DALAM CAPUCINO: KAJIAN POSTMODERNISME JEAN FRANCOIS LYOTARD [Seno Gumira Ajidarma’s Literary Stylistics in “A Short Story Rembulan dalam Capucino”: A Study of Jean Francois Lyotard Postmodernism]." TOTOBUANG 6, no. 1 (October 10, 2018). http://dx.doi.org/10.26499/ttbng.v6i1.79.

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The research analyzes literary stylistics of Seno Gumira Ajidarma’s short story, "Rembulan dalam Capucino ",by taking advantages of Lyotard’s postmodernismperspectives. By applying andescriptive method, the writer found postmodern storytelling stylistics involving at least seven postmodern styles, namely fragmentation, sublim language play, pastiche, parody, kitsch, camp, and schizophrenia. Fragmentation wasfound in the style of merging separate fragments of rembulan and creating its new meanings.Sublime language play was seen on SGA trials to change something impossible to be possible. Pastiche style was seen in the quotation of Pablo Neruda's poem which expressed it took a glance to love someone and it took a very long time to forget someone. Parodic style was seen inthe exchange of “moon” for “soto Betawi” in Italian restaurant. Camp appeared in the elimination of characters’ names as in common short stories. Schizophrenia arose at SGA's story about a“moon”(rembulan) that could serve as a sign or symbol of shifted meaning between the marker and the mark. When the established meaning of the “moon”(rembulan) referred to the 'celestial bodies which surround the earth, shine at night by the reflection of the sun' and 'night beauty', SGA shifted its meaning as a burden of forgetting someone.Penelitian ini menganalisis stilistika sastra Seno Gumira Ajidarma (SGA) dalam cerita pendek “Rembulan dalam Capucino” dari sudut pandang postmodern Lyotard. Dengan menggunakan metode deskriptif, penulis menemukan kepostmodernan gaya SGA yang melibatkan sekurang-kurangnya tujuh gaya postmodernisme, yakni fragmentasi, permainan bahasa yang sublim, pastiche, parodi, kitsch, camp, dan skizofrenia. Gaya fragmentasi terlihat pada gaya penggabungan sejumlah fragmen terpisah tentang rembulan sehingga menciptakan makna baru. Permainan bahasa yang sublim tampak pada permainan SGA mengubah sesuatu yang tidak mungkin menjadi mungkin. Gaya pastiche terlihat pada pengutipan puisi Pablo Neruda yang menceritakan singkatnya mencintai seseorang dan lamanya waktu yang dibutuhkan untuk melupakan seseorang. Gaya parodi terlihat pada penukaran rembulan dengan soto Betawi di restoran Italia. Gaya kitsch, Gaya camp muncul pada peniadaan nama-nama tokoh selayaknya cerpen kebanyakan. Gaya skizofrenia muncul pada pengisahan SGA mengenai rembulan yang dapat dijadikansebagai tanda atau simbol makna yangbergeser antara penanda danpetandanya. Ketika makna rembulan yang telah mapan mengacu pada ‘benda langit yg mengitari bumi, bersinar pada malam hari karena pantulan sinar matahari’ dan ‘kecantikan malam’, SGA menggeser maknanya sebagai sebuah beban melupakan seseorang.
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Dissertations / Theses on the topic "Sgaw Karen language"

1

Sarvestani, Karl Reza. "Aspects of Sgaw Karen Phonology and Phonetics." Thesis, State University of New York at Buffalo, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10930871.

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The Sgaw Karen language remains underdocumented and underdescribed; this dissertation attempts to contribute to the understanding of Sgaw Karen phonetics and phonology by examining a variety spoken within a refugee community n Buffalo, New York. It includes an anlysis of the segmental and tonal inventories and relates these findings to previously published analyses of other Sgaw Karen varieties. Special attention is paid to the acoustic phonetics of the tone system, with particular regard to the role played by voice quality.

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Books on the topic "Sgaw Karen language"

1

Schie, Anne van. Karen Sgaw morphology: Expressing grammatical relations in Karen Sgaw. München: LINCOM GmbH, 2019.

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2

Burma) Karen Baptist Theological Seminary (Insein. Tāʻ mā li Phākaññī chī ʼa laṃāʻ khīñʻ thaṃʺ. ʼAʹ caʹñʻ: Phākaññī Bhyāthaṃ Yvā gañʻ pī ññā phañʻ Cimiā, 2006.

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3

Spiewak, Julien. Parlons karen: Langue et culture (Myanmar-Thaïlande). Paris: L'Harmattan, 2006.

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4

Phā ka ññī Bhyāthaṃ Khavaṃrhāñʻ. Lāʻṃ laiaʻ Dīʺ taʻ Chaiʺ taʻ lā Vai Kyia. English - Sgaw Karen dictionary =: ʼAikalaṃʺ - Phā ka ññī chīā laʻṃ khī yāṃ. [Yangon?]: Lāʻṃ laiaʻ Dīʺ taʻ Chaiʺ taʻ lā Vai Kyia, Phā ka ññī Bhyāthaṃ Kha vaṃ Rhāñʻ, 2009.

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5

Katsura, Chaiyathip. An analysis of cohesion in Sgaw Karen folk narratives. Chiang Mai, Thailand: Payap University, 1993.

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6

Ballard, Emilie. Introduction to Say it in Karen: How to read and write Sgaw Karen. Chiang Mai, Thailand?: s.n., 1993.

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7

Sgaw Karen Bible. [Burma]: Bible Society, 1986.

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8

Gilmore, David Chandler. A Grammar of the Sgaw Karen. Franklin Classics, 2018.

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9

Geba - Gada - Engele - Zwò̀ acèd́òhlî̆hta: Kaibhā - Kata - ʼAaikalaṃʺ - Chīa ʼacaiāʻdīaʻlhāʺthāʻ = Gebah - Myanmar - English - Sgaw Karen dictionary. [Pa-an?: name of publisher not indentified], 2011.

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