surreal visual poetry - bilingual turkic metre ~ mystery linguistics theatre 2000 (but sometimes, it's 3000)
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BANG BANG | Archiaic Türk`ish Dalida : Prosody Twisters Transmission From The Türk`ish Mountain Between Spanish & Itallianclick on the picture to watch it on youtube SONGLINE: Dalida ~ Bang Bang YER: South West Of The Black Stump, Wombatistan >>> aus terör, language recovery, prosody, syllabic distortions 0140 bangbangREMIX-TURKISH | 2:33 | 13 Feb 2022
>>> chain-linked item : study series
This is the Türk`ish transmission compilation of a study series. The primary notes about it have been filed with ACT 1. There was a dramatic difference in how prosody works in Türkish, which may connect to issues of inappropriate word stress during childhood. The rhythm of spoken word is not the same as the rhythm encoded with Latin through the written word. Prosody was not consciously taught to me in Türk`ish or English. My mother mentioned she had targeted rhythm lessons in Turkey, but I don’t know if they’re still taught today. The only remote skewer was the dogma of «how many syllables is that?!» The written word failed to account for this because the environment didn’t pronounce things correctly. It was based on the fashion of the surrounding culture. The dogma of my environment claimed the word [sword] was one syllable, as they didn’t know how to pronounce [w] and classified it as a consonant. They couldn’t recognize [w] as both consonant and vowel. The vowel form [w->uu] was was regarded as an «unsuitable noise», actively discouraged. The umbrella was not an wmbrella, uuwmbrella, or oombrella, but more like an armbrella. [u] was taught as a vowel resembling [a], even though they didn’t spell their bananas as bununus or banaarhn`nahs. For umbrellas, I felt that Bermingham et al. did a brilliant job of making English sound more plausibly grounded. This issue can slip under the radar for children processing English as a second language, especially without direct assessment of their first language’s progression. English-only speakers are also impacted if they grew up in environments requiring assimilation with diverse accents. Words like [sword] can carry 2-3+ syllables, depending on pronunciation. Cultures believing such words are only one syllable will dock this as wrong, because they're not able to perceive more than one. Syllabic distortions are amplified by awareness and ignorance of other sound patterns. This includes alphabets that fail to recognise divergent sounds as unique entities. When unique sounds are not identified in written form, their ability to exist will remain unconscious, fused with the ortak (collective belief system). The flow of this compilation is not as smooth as the English one. It captured the stone-skipping effect caused by not having a solid map of Türk`ic encoding for prosody, through Latin. Significant shifts and multiple iterations would be needed to smooth out all the hangnails against the metronome. It was important for me to aim for isochronic alignment, according to how I plugged into the Italian soundscape, achievable only through the Accented English stream. If I were to do another study, it would aim to smooth out the flow without restricting phrasing to a pre-existing song pattern. The comparison between how this plays out in Turkic and English expressions will be dramatically different. I know it will provide further insight into the bilingual dynamic and highlight specific language features responsible for the prosodic hiccups.
Trans-Turkish reading paced with Italian prosody. Translations based on 1st & 2nd edition dictionaries by OXFORD & REDHOUSE + alt-notes in English. It wasn't Cher. ~iD-ENTiTY
Each act below oscillates between Türkiyenli &
Italian English: ~ My Name Is Ayça, get used to it <<<PREVIOUS | HOME | NEXT>>> |
