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Interesa libro por ĉiu, kiun interesas la historio de Esperanto kaj la fako planlingviko ĝenerale. English version follows. MATTOS Geraldo: Deveno de Esperanto, La. Chapecó: Fonto, 1987. 107p. Serio “Lingva Kolekto” #1. Broŝurita. En ĉi tiu unua volumeto de projektita serio, la nuna prezidanto de la Akademio de Esperanto provas spuri la evoluadon de Esperanto de la versio de 1878 (“Lingwe Universala”) tra tiu de 1881 (“Lingvo Universala”), la publikigita versio de 1887 (“Internacia Lingvo”) ĝis la fina versio de 1888 (“Lingvo Internacia”), kiun ni hodiaŭ parolas. Farante tion, Mattos provas montri, de kie venis ne nur la leksikaj elementoj de la diversaj versioj, sed ankaŭ la modeloj (paradigmoj) kiujn kreis la juna Zamenhof. Farante tion, li efektive montras, ke la versio de 1881 estis sakstrato, ekster la ĉefa linio de evoluado inter 1878 kaj 1887, kaj ke ĝi eble estis forte influata de Volapük, grandparte en la unusilabigo de tiuj leksikaj elementoj (kiu estas ĉefa eco de la Schleyera lingvo). La influo de Volapük je la fina versio de Esperanto estis multe malpli (preskaŭ nula, fakte). Post esplorado pri la devenoj de la diversaj elementoj de la lingvo, Mattos komparas ĉiun version al la antaŭa versio, kaj post tio al kelkaj tiutempe konataj lingvoprojektoj. Pri tiuj lastaj, li konkludis, ke kvankam Zamenhofon povis influi la foje bonaj ideoj de la projektintoj, li ne influiĝis de iliaj plenumoj de tiuj ideoj (kiuj ĝenerale, kaj neklarigeble, estis relative fuŝaj). Se la kvar versoj ekzistantaj en la Lingwe Universala de 1878 ne sufiĉas por iu, tiu povas ĉi tie legi 14-versan soneton en la sama lingvo, kiun Mattos pretendis rekonstrui (p. 27). Interesa libro por ĉiu, kiun interesas la historio de Esperanto kaj la fako planlingviko ĝenerale. Mattos, Geraldo: Origins of Esperanto, The. Chapecó: Fonto, 1987. 107 p. Series “Language Collection” #1. Paper. In this first little volume of a projected series, the current president of the Academy of Esperanto tries to trace the development of Esperanto from the version of 1878 (“Lingwe Universala”) through that of 1881 (“Lingvo Universala”), the published version of 1887 (“Internacia Lingvo”) to the final version of 1888 (“Lingvo Internacia”), which we speak today. In doing this, Mattos tries to show the sources not only of the lexical elements of the various versions, but also the models (paradigms) which the young Zamenhof created. In doing this, he shows that the version of 1881 was a cul de sac, outside the main line of development between 1878 and 1887, and that it may have been strongly influenced by Volapük, largely in the monosyllabification of those lexical elements (which was a major characteristic of Schleyer’s language). The influence of Volapük on the final version of Esperanto was much less (almost zero, in fact). After researching the origins of the various elements of the language, Mattos compares each version to its predecessor, and after that to several language projects that were known at that time. About these last, he concluded that although Zamenhof could have been influenced by the occasionally good ideas of the planners, he was not influenced by their implementations of those ideas (which were generally and inexplicably relatively poor). If the four lines existing in the Lingwe Universala of 1878 is not enough for someone, he or she can read here a 14-line sonnet in the same language, which Mattos claims to have reconstructed (p. 27). An interesting book for anyone who is interested in the history of Esperanto and the field of planned languages in general. Don Harlow, April 21, 2007 04:51 PMFeedback
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| Don Harlow bio info. Born longer ago than he cares to admit, Don Harlow has worked as a military weather forecaster, neophyte astronomer, computer programmer and office manager. His primary avocations are reading science-fiction and fantasy and promoting the international language Esperanto. He has successfully raised three daughters and a son, the oldest of whom (Gwen) is responsible for designing this site and giving it to him as a Christmas present. Movies are, for him, a pleasant way of passing an afternoon or evening; his only connection with the movie industry consists in a long-ago four week period during which he worked as an usher at the Lake Theater in Oswego, Oregon. Contact Don at don@harlows.org | ||||||||