Proposing a new alphabet for the English-speaking world seems silly, if not outright foolish, these days. Just imagine the cost of changing all those keyboards, and why do we need a new alphabet, even if it is easier to use than the Roman letters? Computers are available to anyone with access to a public library, and of course people type faster than they could ever write by hand.
And then there is the most difficult problem–the way an alphabet forms connections between visual letters, sound, and thought in the developing brain. Our brains really seem capable of accommodating only one alphabet; teaching “learning” alphabets only confuses the student and makes it harder to learn the “adult” form of an alphabet.
This looks suspiciously like an argument against teaching handwriting at all, except in the most basic form; that is, for use in notes and the composition of draft materials. This is not so much writing for communication as a private form of stenography. No one but the author need decipher the script, leading to an idiosyncratic style, of use to the author only. This is often what is meant by the term “shorthand.”
Quikscript is a dedicated calligrapher’s answer to all these problems and objections. To recapitulate: Kingsley Read won a competition to design an alphabet for English–the competition stipulated in Bernard Shaw’s will. The result, Shavian, represented an improvement over the Roman alphabet in many respects, but still had its problems. To further refine the script, Read circulated it to correspondents around the globe for their evaluation and feedback. Using their responses, he redesigned Shavian, calling the new alphabet Quikscript.
Here are the reasons why Quikscript is a superior alphabet:
1) QS is specifically designed for the English language. This helps greatly in making QS more phonetic and easier to learn than our current alphabet. For instance, the English language has twenty-seven vowel sounds; the Roman alphabet has just five vowels. Quikscript has 15 vowels.
2) QS comes in Junior and Senior forms. The learning alphabet, Junior Quikscript, is conceived as part of the entire alphabet system, making the transition to adult writing easy; there are no contradictions/different letter forms for the same phonemes. And the Junior script (given in the chart at the left) is very easy to learn.
3) QS is an alphabet, not a shorthand. As with the roman letters, QS’s letterforms are fixed and can be learned by everyone. This is an alphabet that is easier to write and read than the Latin script–thus going far to solve the problem of fluency and legibility.
4) The most common sounds have been given the easiest letterforms to write.
5) Similar sounds are represented by similar letterforms. That is, this is a featural script.
6) QS follows the one sound-one letter principal.
7) Senior QS features a plethora of shortcuts, such as half-letters, that make writing much easier.
8) Best of all, QS has a free online manual, available on the Quikscript page on Omniglot.
If we take a look at the history of writing, we can see a gradual movement from logographic systems that are difficult to learn and write to semi-phonetic alphabets, often reliant on the memorization of a word’s spelling. Quikscript represents a further step in simplification, efficiency, and beauty. RT
Top: Quikscript Manual Cover. At Omniglot page. Public Domain. Bottom: Quikscript Alphabet; Wikipedia; Paul Tremblay; CC 3.0 Attribution, Share-Alike.
superb work; enjoy!
I drew this some time in college, 2007 or 2008 maybe, in an Introduction to Life Drawing class that I loved so much because naked bodies were fine and expected and not at all criticized, so I didn’t feel like the girls or boys in class were paying special attention to the circumference of my thighs which were hidden inside a pair of holey blue jeans or a skirt that fell just below my knees and was flowy specifically to keep the width of my legs a mystery, and because class was two and half hours long and made me feel like a Real Artist even though I was never satisfied with what I drew even though I was constantly praised by my professor in front of everyone even though, like, that’s totally a thing I just wanted to throw in there for some psychological evaluation, and because there was…
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folks: on a happy note…! RT
(reposted fr fellow-blogger x-ties)
The immortal Flamingo Dancer strikes again!
(reposted from Flamingo Dancer)
High on the list of RT’s dream destinations, Turkey has exercised a powerful fascination on him since shortly after college, when he ran across an old book on Turkish culture. Then he read Romilly Jenkin’s magisterial Byzantium: The Imperial Centuries and was completely hooked.
One could go on and on about the sights to be seen and the immense variety in landscape and culture encompassed by Asia Minor, but perhaps the most important fact to hold on to is the diversity in culture: Turkey is home both to 1) the great city Istanbul and the adjacent small but important section of European Turkey and 2) the deeply Middle Eastern region around Lake Van and the headwaters of the Euphrates-Tigris river system. Gilgamesh and Herakles rolled into one (so to speak), and somehow the Turks have not only managed to hold the condominium together, but are actually enjoying a noticeable degree of prosperity.
How has Turkey been able to carry off this not-so-small political miracle? Surely Mustafa Kemal Attaturk, first President of the Republic of Turkey, deserves no small part of the credit.
Attaturk’s story is one of the more amazing (at a time filled with amazing stories). He was born in Salonika in 1881 to a middle-class family and served in the Turkish army during WWI. At the end of the war, with the collapse of the Ottoman Empire, Attaturk led a revolution that modernized Turkish society in some of the most fundamental ways: not only did his party replace the old sultanate with a parliamentary republic modeled on western institutions, but the Turks also replaced the Arabic script with a modified Roman alphabet and replaced traditional garb with western dress.
By the time that Attaturk entered the fray, the Ottoman Empire was in steep decline. After the death of Suleiman the Magnificent (1566), the empire had begun to drift, at first gradually, then picking up speed during the 18th and 19th centuries. At its height, the empire stretched from the gates of Vienna in the west to Baku in the east, and from the Crimean Peninsula in the north to the border of Sudan. The Ottomans had gained control of the territories of their predecessors, the Byzantine Empire, adding some of their own along the way. But they soon found themselves facing the same problems that had led to the fall of the Byzantines: maintaining effective control over such a large area and dealing with the tensions that inevitably arose between the empire’s many ethnic minorities.
But doubtless the chief cause of the Ottoman’s decline was Europe’s rise, phoenix-like, from the ashes of the Byzantine collapse and the fall of Constantinople (1453). The rise of imperial Spain, funded by a massive infusion of wealth from its new colonial empire, followed by the scientific, industrial, and democratic revolutions, proved more than the Ottomans could handle. Despite periods of reform–most notably, the Tanzimat (1839-1876) and the First Constitutional Era (1876-1878)–the Ottoman Sultanate was indeed the “Sick Man of Europe” at the end of the 19th century. Weak as it was, however, the sultanate retained most of its political authority on the eve of WWI.
It was onto this stage that Mustafa Kemal stepped in 1905. Notably, in his early years, he showed little interest in religious affairs, preferring a military career. After graduation from officer school, he served in Syria and Macedonia and took part in the Young Turk Revolution of 1908. Starting with the Italian-Turkish War (1911-1912), he saw action in the series of wars that cost the Ottomans control of Libya and most of the Balkans; he distinguished himself in the fighting and by 1913 had attained the rank of Colonel.
During WWI, Mustafa Kemal Bey continued his rise through the military ranks, ending with command of the 7th Army in Syria. The army was destroyed by aerial bombardment in September 1918, and this disaster was followed by the Armistice of Mudros, which took the Ottomans out of the war. Mustafa Kemal Pasha returned to an occupied Constantinople.
At this point, we confront the mystery behind Attaturk’s life–what compelled a senior military officer in a majority Muslim empire to embrace westernization and a democratic political life? 1) Part of the answer lies in the Turks’ political situation: though their fortunes had reached their nadir, a de facto power vacuum existed in Constantinople after the war. And power vacuums by their nature tend to draw out great leaders. 2) Part of the answer lies in Anatolia’s long history; it has always served as a bridge between cultures, and the influence of European culture has been significant. 3) And part of the answer lies in Attaturk himself. To begin with, Attaturk absorbed (and represented) elements of both European and Middle Eastern civilization; he was a polyglot, fluent in French and German, and with a knowledge of Arabic sufficient for him to understand and interpret the Quran. He was an autodidact who maintained a considerable library of books on technical subjects. He was a lover of nature who worked to establish a zoo in Ankara. And he was something of a bon vivant, enjoying waltzing, raki, and folk songs. To this we can add that Attaturk was married and adopted three children. Perhaps it can be said that he was open to the best in the many cultures he traveled through as a child and young man. While the Allied powers worked to partition the Turkish homeland (via the Treaty of Sevres), Attaturk had the vision and confidence to act.
One of the most remarkable aspects of the Turkish Revolution was the energy of its leaders. Starting in 1919, they signaled their resistance to foreign occupation and began to plan for a new national government with its seat in Ankara. The last Ottoman parliament, dominated by Attaturk’s party, met in Istanbul in the winter of 1920 and promulgated the National Pact, a declaration of six principals regarding the future of Ottoman territories, most important of which was the assertion of the Turkish homeland’s right to be a free and independent nation.
The Ottoman parliament was disbanded on March 16, 1920, when Constantinople was occupied by Allied forces; the first session of Turkey’s Grand National Assembly met on April 23 in Ankara, dominated by Attaturk’s Republican People’s Party.
By then, the Turkish War of Independence had broken out, a struggle which led to the proclamation of the Republic of Turkey on October 29, 1923.
Photos: Top: Mustafa Kemal Pasha, 1918. Middle: Ottoman Parliament. Bottom: Leaders of the Sivas Congress, 1919. All Photos: WikiCmns; Public Domain.
Over the years, RT has dreamed of running a small press; no small feat, what with the cost of paper, distribution issues, marketing, and last but not least, production and printing. Of late, the e-publishing revolution on the net has taken care of many of these problems. And now, portions of Gilgamesh and A Daughter’s Song and Dance are very close to being print ready. And best of all, The Rag Tree itself is producing material that has print potential.
So, suppressing a small shiver of disbelief, RT announces the founding of Ampersand Press. The press currently has a WP blog and a Facebook page, and hopes to expand its net presence as opportunities crop up. The publications list is short right now, and AP is not accepting manuscripts until the three books currently awaiting publication are in print and on Kindle, but next year hopes to be reading new material.
RT is a bit breathless with it all, but in a good way. More updates to follow… RT
Never say that B&W photography is dead…here’s a mystical image, reposted from t smith knowles. RT