ATENEO LANGUAGE AND CULTURE GUARANI
Maitei opavavépe
David Galeano Olivera
ABOUT GRAPHIC LANGUAGE GUARANÍ
By: Felix Guarania, 2001 - Published by RENDA
Read GUARANI original (click) in: http://dgaleanolivera.wordpress.com/algo-de-felix- de-guarania /
not know the writing of the Guarani, do not even know if they wrote. Although on page 262 of "Art" Montoya (New Edition Vienna-Paris, 1876) are: "Writing: Aiquatia. " And the "Vocabulary and Treasure" by the same author, or the second part of the book (page 239v./232v.) "Quatia, r: Writing, painting, dibuxo, paper, letter, book '(n.1 .) Thus, the earliest texts we have are the ones who wrote the English colonial times, mainly priests, they did based on the graph of its language (the area of \u200b\u200bPortuguese colonization did so based on the Portuguese) . Each
wrote differently. Tried to represent the sounds as heard and Guaraní as the possibilities of language as they knew. Among Antonio Ruiz de Montoya and Nicholas Yapuguay (Sermons and Examples in Guarani language, facsimile edition of the first edition of 1727, Guarania Editorial, Buenos Aires, 1953) and others, there are differences. As expected, there was not any system could be in the chart then. Therefore, it is very difficult to read and understand these texts. Hence regrettable confusion and words that bear a distinct aural and sometimes with a different meaning than it really should have. Just
appeared in the nineteenth century who were interested in adopting a graph that is consistent with the real sounds of language. In 1867, by official met in Step Pucú a committee formed by Louis Road, Carlos Rivera, Andrés Centurion Maciel and Chrysostom to study and resolve the adpción a logical and coherent plot. The commission adopted the graph that the newspapers were written at the time, mainly Cabichuí (Kavichu'i) and Lambaré. However, judging by what we see, nor was a system developed strictly true to the characteristic sounds of the Guarani. Referring to the chart, Dr. Moises Santiago Bertoni, a Swiss scientist based at length in Paraguay, in his book Unusual and Useful Plants (Chapter "From the graphs of the Guarani and spellings) says: "It was probably the least flawed and the most practical and can be followed in the printing of that time very modest. But the terrible war took everything, and the few survivors completely forgot about that spelling. "
Throughout the first half of the twentieth century, everyone wrote to his own taste. The spelling used by the Dwarf (bilingual satirical weekly founded in 1903) and those used by Narciso R. Colman (Rosicrán) by Félix Fernández, Darío Gómez Serrato, Manuel Ortiz Guerrero, Emiliano R. Fernandez, are different and none of them are seriously concerned to solve the problem (it is also possible that they had no preparation required to do so, which does not mean that they are great poets and writers). Moses S.
Bertoni in turn, created a chart to the Guarani language and used it in his work. The most controversial point was always the most representative "and" (water in Guarani). From Montoya, who represented the "i" latina with inverted crescent above, were used on the Y (y) (Restivo, Yapuguay and others), "ih" (Bertoni), the "ic" (Rosicrán for a short time), the Latino i circumflex (î), established some attribute to Ortiz Guerrero and others Emiliano R. Fernández. This sign is claimed by some former members of the former Association of Writers Guarani (ADEG), although not consistent, then, in his rare publications that sign used interchangeably and the Y in his dual role as sixth vowel and consonant (e).
The first serious efforts to provide the Guarani of a proper graph corresponds to the entity called the Guarani culture, which in 1950 participated in a conference with that end in Montevideo, where he raised for the first time, scientifically based, the use of " j "and" e "and the Y (y) solely as the sixth vowel feature.
In our country, as indicated by Dionisio G. Torres in his book On the Script of the Guarani (Asunción, 1989), "A proposal of the Chair of Guaraní Language, Faculty of Philosophy A, adopting a phonetic spelling system with two amendments (with respect to the resolution in the Congress of Montevideo): The use of palatal consonant" J " instead of "Y" (e) and the inclusion of the "G" as a soft consonant, the vocal guttural "Y" indicates the characteristic of Guaraní own sound. "
currently in Paraguay, are used in almost two graphs, although one of them every day becomes outdated, which is called "folklore" by its practitioners, agreed at a meeting of writers Guarani in 1960 and officially adopted for their publications by the Ministry of Defence (which led to this meeting.) The respective resolution was imposed by order of "most", without reasonable arguments really serious.
The other graph, called "modern" or "scientific" or "academic" by his supporters, is used today in most institutions engaged in language teaching, was officially adopted by the Division of the Ministry Guaraní language Education and Culture, and National Catholic universities. In addition, an important literary (poetry, plays, stories, translations) and also quite profuse Guarani Study (Grammar, courses, etc..) That have adapted. Reading materials produced by peasant associations (including indigenous), the Catholic Church and other faiths, magazines, newsletters, newspapers and Ñomongetarã and, although rare, publications Guarani newspapers throughout the country, use this chart.
The discussion about the graph Guarani has been (still is, sort of) intense and passionate. The main argument put forward by the first is the "traditionalists" against "foreign-influenced character" of modern graphics. Reinaldo Decoud Professor Larry said on this subject that no one could speak of 'graphs that have become traditional, "because" none of the poets, or those not cited nor have used in their production since it started as script writers. Unchanged. In addition, it is considered only when a traditional spelling has been used continuously for a long time by all writers. That has not happened or happens in the Guarani, for every writer writes in their own way and many writers in various ways. "
The spelling "traditional" uses, as we said, "I" with circumflex latin to represent the sixth voice in Guarani, and when it is nasal, remove the caret and replace it with the umlaut, or two points point, the "JH" for the aspirated, and the "C" to A, O, U and "K" to E, I, and "Y" (sixth vocal), supporters of this script written with the "I" Latino circumflex (Î). The "Y" is used as e consonant. It should be noted none of the writers who adopt this way of writing is consistent. Often a writer writes it in different ways in one piece.
In general, experience shows that the graph "traditional" has one serious drawback graphics and emphasizes the possibility of errors. The adoption of many diagrams difficult to read fluently. In the eyes become more difficult to grasp quickly enough the image of the word.
As the graph "modern", its main success is its simplicity and accuracy with which sounds are represented Guarani. Indeed, it has been made taking into account the conclusions of modern science of language. and "spelling, as linguistic fact," says Dr. Reinaldo Decoud Larrosa, must necessarily be structured on the foundation laid by the science of language. "
GIMÉNEZ FELIX GOMEZ (FELIX DE GUARANI)
BIOGRAPHICAL
PortalGuarani
Posted by Born in the city of Paraguarí, in 1924.
Poet, novelist and playwright (English-Guarani), professor of Guarani and deep knowledge of the language and culture of the Guarani, this prolific poet bilingual is one of the most popular social poets of Paraguay today. Guarani
official translator of the Constitution and founded the Institute of Linguistics of Paraguay and the Paraguayan Centre for Linguistic Research (CEPAIL), Don Felix de Guarania (pseudonym of Félix Gómez Giménez) is the author of many works, among which include collections of poems: Poems
Night and Dawn (1954),
Brujulares Punishment (1964), Wake
words! and Tuju nde che aho'i challenges! (1985, double volume),
Tojevy Kuarahy (1989),
A Nostalgia Times (1992, reprint of Petals, 1942),
From the root of sweat (1994), guar Mitama
potty ñe'é (1998) and
I identify (2000), a collection of 18 poems "To recall the names of those who gave everything for their country before, during and after the Paraguayan March, as we read in the initial section of the book.
His publications include several editions of anthologies devoted to known representatives of popular poetry, among them Carlos Miguel Jiménez (1990), Antonio Ortiz Mayans (1991) and Emiliano R. Fernandez (1992). His creative work as well as his tireless work in defense of indigenous and in favor of the Guarani culture have won some important awards as the Poetry Tribute Plaque Local (XX edition of the Festival of Ypacaraí) and Plato "The 12 Year" award from Radio Primero de Marzo, both received awards in 1992 . In 1995 he was awarded the honorary platelets Takuare'ê Festival and Radio Nacional del Paraguay and the Award in the Grade of Commander of the National Government. A year later, in 1996, was awarded the Medal of Sower of Culture for the Municipality of Lambaré. In 1995 he published
THESE ARE MY WITNESSES AND MY WITNESS, a book that documents decades of human rights violations committed against the people Paraguayan dictatorial government of General Higinio Morinigo (1940-1948) first and that of General Alfredo Stroessner (1955-1989) later.
Of more recent occurrence are the tests SACRED IN CULTURE GUARANÍ (2000), PARAGUAY CULTURAL (2000) and conventional wisdom (2000), and sample essay anthology of Paraguayan folklore.
In theater is the author of MBORIAHU REKOVE (written and premiered in 1944) and TEKOA'ANGA: POPULAR THEATRE IN GUARANÍ (2001).
It also has several books on grammar and Guarani language, as well as a Guarani-English dictionary, English-Guarani for school use.
As a translator, has poured into Guarani: José Martí, and ÑOKUÃ'I Simple Verses (translation of his short story "Little", 2001), by Molière, Molière in Guarani (2000); and Becquer and Garcia Lorca, Gustavo Adolfo Becquer and Federico García Lorca in Guarani (2001 .)
In narrative is the author of THE CHRIST OF COLLAR AND OTHER STORIES (1997, bilingual edition) and CLANDESTINE TALES (2000), number of stories, testimonies to recover and reflect experiences of a long and tragic period of the twentieth century Paraguay.
Source: Anthology of Paraguayan literature, 3rd ed. Edition was published in 2004 by publishers and bookstores THE READER, author: TERESA MENDEZ FAITH. Asunción-Paraguay
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