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It's a multicultural gated community that prioritizes safety and security above all else. Invest in and create your own business in the most prestigious, commercial area of Limassol. Offering a unique opportunity for investment, the property represents a fully licensed Shop currently used as a Bar. The property is connected to a spacious patio veranda. The privileged setting, as the wider area is mainly developed with both commercial and hotel units, whilst the Cosmopolitan Paphos Harbour and some of the greatest attractions of the town are just on its doorstep.
The premises is Tenant Occupied and the business is well managed and known. It has all the necessary licenses and permits. Profitable and sustainable, the shop offers a return of 9. On the ground floor there is a spacious living room area, a separate kitchen and a quest W.
On the first floor there is 3 bedrooms a common bathroom and in the master bedroom there is an en-suit with a shower and toilet. There are A. C units in all rooms and a central heating provision. Call us for more information. Manuscripts for publication, books for review, and other correspondence should be sent to one of the following addresses: Prof. KG, Wiesbaden Th is journal, including all of its parts, is protected by copyright. Any use beyond the limits of copyright law without the permission of the publisher is forbidden and subject to penalty.
This applies particularly to reproductions, translations, microfi lms and storage and processing in electronic systems. Il graffitismo, lo stickerismo e le affissioni abusive come occasioni di studio delle dinamiche evolutive della lingua italiana The writing of one language using the alphabet of another was, in fact, widely spread and had its motivation in the religious beliefs of the speakers.
Turkish texts written in the Greek alphabet, known as Karamanlidika, is the topic of this paper. Syncretism derives primarily from religion. The attempt to put together contrary beliefs, often using practices of various schools of thought, is characterised using this terminology. Syncretism poses also historical questions concerning roots cultural contacts and received influences, see Stewart In this paper, its use is extended to a cultural linguistic phenomenon.
Concerning Frangochiotika, see Dallegio and Fosko- los Although many studies have been carried out on Karamanlidika, mainly in the areas of history and book history, linguistic research solely on Karamanlidika is scarce and has remained a long neglected field by scholars Kappler The subsequent linguistic publications appeared as late as the beginning of the 21st century with research on the Karamanlidika musical anthologies, on graphe- matics, on the linguistic aspects of Karamanlidika and on how the terms applied to Karamanlidika were used Kappler , , , forthcoming.
There, presentations on Karamanlidika, Armeno-Turkish, Hebrew-Turkish, Cyrillic Turkish and Aljiamiado texts were given, showing a newly developing interest in the field. Before describing the research questions of this paper, there is a need to address the general questions of why people write and why they strive for graphic stand- ardisation.
Language is not defined by writing in linguistic terms, and the reason writing was invented was the need for representing language Saussure 75 and the communication of meaning Coulmas 18 ; therefore, as with Kara- manlidika, early editions were representations of oral language. After writing is introduced and evolves, the process of establishing conventional relationships be- tween graphic and phonic units is developed Coulmas When the afore- mentioned process concludes, in many occasions, writing may slow down the devel- opment of language Saussure Moreover, the Turcophone Orthodox of Anatolia were spread through- out the Ottoman Empire and should be differentiated from other Turcophone non-Turkic popu- lations, such as the Armenians and the Jewish.
On the Development of Karamanlidika Writing Systems 59 pendent from writing. The prestige of writing has four main principles. First, the graphic representation of words is preserved like something tangible that is meant to last over time, thus creating the false premise that it is easier for the speaker to bond with written rather than oral language. Second, visual impressions are more understandable and can be remembered more easily than auditory impressions.
In this way, writing overcomes sound. These types of books make writing part of a defined code, which is subjected to a very strict usage, and that is orthography. Orthography gives to writing its major importance in pres- tige. Fourth, when there is disagreement between language and orthography, it is al- ways difficult to find a solution. In this case, the written form always has an advan- tage since it is more easily recognised Saussure 56— The present research belongs to the discourse on the analysis of languages writ- ten in a script with which they are not traditionally associated in order to study earlier stages of those languages in this case, the Turkish language and focuses on two research questions: First, how did the Karamanlidika writing systems evolve through the period un- der examination?
During the period Karamanlidika books were being printed — Balta b , the Greek alphabet was used in many ways in order to express the Ottoman- Turkish language. Many different people of different social and educational back- grounds expressed themselves through written language in this way. Some of those were Christian Orthodox clerics, enlightened Turcophone Orthodox and foreign mis- sionaries.
This raises the question of how the Greek alphabet was used by each of the translators or editors and the implication their background had on their use of the Greek alphabet. Moreover, was there an effort for standardisation of writing struc- tures regarding endeavours of standardisation see Kappler , or did they remain arbitrary until the end of the period of Karamanlidika book production? The second research question is subsequent to the first.
It applies when an arbi- trary way of writing that served as a practical means of communication, like Kara- manlidika, begins to evolve towards a writing system. Also, the research will provide a clear overview of how the writing systems evolved. For the needs of the research, four Karamanlidika editions of Psalterion book of Psalms, or Psalms of David were selected with the aim to cover as best as possible the period of Karamanlidika publications. The texts cover the period of to The selected editions are: Ps, Ps, Ps and Ps Methodology The number of previous studies on Karamanlidika with different orientations and the numerous definitions given to this term have created many ambiguities concerning its meaning.
Because of this, the studies to follow should be based on a framework that allows researchers to draw sound and valid conclusions. A general basis, which was used for this research, is described by Kappler A linguistic research based on Karamanlidika texts7 should deal with texts of one group e.
Therefore, linguistic research on phonetics or morphology or both on the whole could lead to false and misleading deductions e. Research on the full Karamanlidika material could be held only on graphematics, such as Kappler on a small base. The people who used Karamanlidika were a syncretic community that wrote in an alpha- bet directly connected with a religion in this case, the Greek alphabet and Christian Orthodoxy as opposed to the language used in this case, Turkish , which again had linguistic varieties and phenomena of linguistic interference Kappler In 6 Psalterion , Psalterion , Psalterion , Psalterion From now on, the four sour- ces of the research will be cited as above.
The edition Ps is available in Leiden University Library, no shelf marks available. For an over- view of the Karamanlidika collection of Leiden University, see Schmidt The current research follows the approach of comparing several editions of the same book that were in care of different persons. Additionally, information on the social and educational background of the translators, publishers or editors as well as the printing tradition behind each version is included. These factors, as pointed out by many authors, are of crucial importance Anhegger — , Anhegger 12—14, Kappler , Gavriel a: Each one of them used certain writing structures in relation with his knowledge of languages, primarily based on Turkish and secondly on other languages.
Moreover, it is essential to keep in mind who was working on Karamanlidika and to whom these works were ad- dressed. Ottoman official writing, with Istanbul as its centre, was histo- rical and conventional. Finally, such comparisons can provide remarks concerning inconsistency in the spelling of words and the representation of phonemes by the same author Gavriel a: e. With its first recorded publication at the end of the 16th century and many editions to follow in the Greek language, the first Karamanli publication is recorded in For the current research, four out of twelve Karamanli Psalterion editions were selected for a number of reasons.
Apart from availability, the main criterion was the variety of translators, publishers and publishing traditions in order to see how dif- ferent persons treated this particular book. Secondly, the editions should cover as much as possible of the period the Psalterion was being published as Karamanlidika books, namely —, to be able to illustrate the historical development of the writing structures in Karamanlidika, and the influences of Ottoman script and Greek 9 Robert Anhegger observed that often the printing errors were inevitable since the printers, although they were Greeks, did not have enough knowledge of Turkish in order to avoid them.
Anhegger — , see also Iliou Of course, for a complete overview, all the editions should be compared, but in this framework this is not feasible. The selected editions are: Ps, Ps, Ps and Ps see abbrevia- tions and references. Ps was selected because it was the first printed Psalterion in Karamanlidika. It was published by the Orthodox Patriarchate in Istanbul. This edition is important not only because it uses an improved version of the writing system introduced by the missionaries in but also be- cause it is the first translation of the book made in full by the missionaries.
Finally, Ps is the last recorded publication of the book. It was printed in Istanbul under the supervision of Panayiotis S. Kioseoglu and, as mentioned in the title page, under the auspices of the Orthodox Patriarchate of Istanbul. In short, the four selected texts cover the entire period that Psalterion was being published, and they represent three translating traditions, the early Turcophone Orthodox, the British missionaries, and the late Turcophone Orthodox. Neophytos is intro- duced as a monk in the preface of the Psalterion and was probably Turco- phone, since he made the translation.
Meletios, who refers to himself in the preface as Fenerli, might be an educated deacon from the Fener district of Istanbul and probably had knowledge of Arabic letters Gavriel a: Neophytos and Meletios appear in few other Karamanli publications, and it is certain that they be- longed to the first generation of translators, editors and writers when until the end of eighteenth century these jobs were done by clerics. Even when this was not the case, those engaged in the publications were almost always people from inside the 10 Concerning Nikolaos Glykis Printing house, see Veloudis On the Development of Karamanlidika Writing Systems 63 Church or from environments controlled by the Church, like teachers or dragomans Iliou He also published books consisting of adaptations from several books Stathi During the 18th century, he was responsible for twelve out of fifteen Karamanlidika books published from until It is said that he had his first lessons in Caesarea and later moved to İzmir in order to develop his education Stathi —, Theocharides 33— During his stay in İzmir, it is presumed that he was ordained deacon Stathi His mother tongue was Turkish, and he learned Greek at a later stage Eckmann 4.
I 4] published in Venice in There, he says that his first language was Turkish, that he studied Greek for a long time and that religious texts are indispensable for the education of the Christian Orthodox of the East Clogg 65, Gavriel He also mentions the fact that he was motivated by the illiteracy of the clerics and the intel- lectual decline of the East Stathi Around , he was embodied as a monk in Kykkos Monastery in Cyprus where he remained until approximately Theocharides 35—38, Clogg During his stay in Cyprus, Seraphim was distinguished as a teacher, writer and superintendent of books with the financial help of the monastery Theo- charides Around , he was appointed metropolitan of Ankara, a position he held until when he was unfrocked due to an incidence relevant to his short temper.
He is also referred to as Seraphim Pissidios. In the catalogues of the B. See Bullen 92, His work continued to be republished or re-edited for many decades. This can be seen also in the title page of the Psalterion It is said that during the Mass, due to his short temper, he hit and killed a deacon with a heavy gospel 35 citation 7.
Clogg 65 sets the period he was a metropolitan of Ankara from to It seems that he preached and taught in Istanbul both in Greek and Turkish Stathi , Clogg Moreover, he published books in Karamanlidika, in Greek and sometimes translated from Latin Theocharides 51 , and in , he also published a book written in three languages, Greek, Latin and Italian. At an early age, he took Holy Orders Moon 14 and was appointed as the principal agent of B.
He died on a journey towards Palestine in Browne 65, Moon His arrival in Istanbul in signalled a new era for Karamanlidika publica- tions as he and Reverend Pinkerton undertook the first Karamanlidika publication based on missionary work Clogg Besides Karamanlidika, H. Leeves was involved with several editions in many languages and scripts, like the revision of the New Testament in Albanian Browne 31 , in Greek Romaic according to the missionary terminology , Spanish, Judeo-Spanish Spanish written in Hebrew and Armenian, not only as edi- tor but also as a translator.
Argyrogrammo in charge of the printing house of the Patriarchate Clogg — , he appointed Christos Nikolaides, a highly educated young man, as his new assistant in Clogg He also had experience in printing and publishing Clogg — The new assistant of H. Leeves fit into the model of mis- sionaries working with educated, multitalented and multilingual natives in order to make their work more acceptable and their translations more comprehensible to the natives.
A young Greek working as a book binder who had know- ledge of Turkish, Armenian and Hebrew, he was working for Muslims, and he had connections with the Armenian community. See Goodell — The new system was the outcome of their wish to represent Ottoman language in the Greek alphabet in the best possible way Gavriel a: Leeves belongs to those missionaries who believed that in order to pro- selytise, missionaries should first educate the people.
The texts, he believed, should not only be comprehensible to everyone Clogg — but should also be in the form of the language that the people spoke Murre-Van den Berg 13, Balta , so he wanted the editions to be improved by natives or people who spoke the language of the natives Clogg Therefore, they often distri- buted texts prior to their publication in order to see if the language used was com- prehensible Clogg Kioseoglou editor The information available in secondary literature about the editor of Psalterion , Panayiotis S.
Kioseoglou, is again scarce. Taking into consideration the fact that he lived in nineteenth to twentieth century Istanbul and the fact that he was in charge of several Karamanlidika editions eight books in a period of nine years — , one can surmise that he was member of the Turcophone urban elite of Istanbul.
This urban elite was comprised of enlightened Turcophone Orthodox who had received higher education, had a good knowledge of the Ottoman language and were aware of the varieties of Ottoman administration and literature Gavriel a: This new group of people was trained in order to develop professionally, and their good knowledge of Greek and, more importantly, Ottoman Anhegger — , Kappler made their Karamanlidika publications much different from those of their predecessors Kappler 60 , especially in regards to language Anhegger — The simple language of the early editions was succeed- ed by ornate Ottoman language, sophisticated in lexicon and orthography Strauss , which also included Arabic elements Kappler See Makdisi — The role of the assistants is quite neglected and deserves to be studied thoroughly since they carried out much of the missionary work.
The Psalterion of uses the majority of the Greek graphemes in the Turkish text. Furthermore, concerning the alphabets used in the sources, there are some points that need to be clarified. In some of the editions, there are some ligatures that cannot be shown here when quoting one of the original texts because of the lack of respec- tive fonts.
Diacritics Before proceeding with the comments on diacritics, they need to be divided into two categories, first, the diacritics used in texts written in Greek language also known as the polytonic system and second, the diacritics used only for texts written in Kara- manlidika.
Their use in Kara- manlidika follows the rules of Greek grammar e. Previous research on Karamanlidika showed that the accents were not used correct- ly, especially the use of the grave Gavriel b: , which in all four editions under examination here seems to be used correctly. The diaeresis is used in all four texts. In the Psalterion of and , the diaeresis serves its original purpose e. Moreover, in these two editions, the diaeresis shows what could be a long vowel or the Arabic grapheme ayn e.
This will be discussed further at a later stage. The use of diacritics in Karamanlidika texts is one of the first issues that draws attention to those dealing with Karamanlidika e. Diacritics are to be found in Psalterion and Psalterion , and the issue will be discussed further later on. The others are also the same way. One can learn the rest of the letters and syllables by becoming familiar with their usage.
This was prepared by monk Meletios Fenerli. Although these instructions or system do not cover the majority of phonemes in the Ottoman language nor its peculiarities Gavriel a: , it is very important because it is a clear attempt not simply to write Karamanlidika but to create a wri- ting system based on the graphemes of the Greek alphabet.
The system leaves many graphemes of the Greek alphabet unused and gives to others a new role, different than the one they serve in the Greek language, in order to detach phonemes from standard Greek language. As can be seen in the Phonetic chart B. This text is cited as translated in Gavriel a: Here, the author is not very consistent with his choice e. Psalterion In the source of , there are no instructions, and as can be seen in the phonetic chart, the author uses a random system were no rules are applied.
The first was introduced for the first time by the B. I: 64 printed in De Castro printing house in Istanbul Clogg I: This was called the Athenian system by J. Eckmann and J. Deny because the printing of these books took place in Athens Anhegger 3, Kappler The printing was transferred there from the island of Syra, and new types of fonts were used Browne 55, Canton The main quality of this system was the introduction of diacritical symbols above certain letters in a modify- cation of the Greek alphabet in order to make it more suitable for the rendering of Turkish phonemes.
With their usage, the rest of the letters can be read by everyone. The Bible Society here provides information of how to read the modified gra- phemes and those with a new role, so the rest remain as they are. The examples to follow from this source will be cited just with the date and page number. With their usage, the letters can be read by everyone.
The missionaries provide in Psalterion a clear overview of their writing system, which is similar with the former system used in Ahd-i Cedid of with very few changes. Psalterion As for the source of , there are no instructions for the usage of the writing system of the Psalterion The fact that the book was published in the late nine- teenth century makes it inevitable that it will have a standardised system of writing, and in fact, it does have one, the system used by the Misailides family.
Comments on the development of individual graphemes The description of the development of the individual graphemes shows several alter- ations for many graphemes, while others remained the same throughout the ex- amined period. These distinctions are absent from the Greek phonological system. The influence is more than obvious since the mis- sionary system dominated the efforts that followed. Despite the dominance of the missionary system, the editions made by the urban elite of the Turcophones show that they also had their own ideas of how a Karaman- lidika writing system should be.
Consequently, they neglected the Greek equivalents where they existed and apparently did not embrace the first effort for standardisation in at any point. Therefore, after the missionaries abandoned it in when they introduced the Athenian system, the Turcophone Orthodox continued its usage. Ottoman originates from the Oghuz Turkish, a Turkic variety that appeared around the thirteenth century. The Old Anatolian Turkish suffix phonology had certain characteristics that differ from the later Ottoman Period and, of course, from contemporary Turkish.
The most basic was the existence of three vowel harmonies instead of two in late Ottoman and contemporary Turkish. Additionally, we have enclitics like - y lA, which appear as non-harmonic suf- fixes at early stages but later assimilates to the stem. There is a transitory stage as well where it can be found both free and bound e. In the subchapters that will follow, a number of suffixes will be presented and analysed in order to draw evidence of the developments of language through the period covered by the sources used — The suffixes are divided into inflectional and derivational.
In each table, the suffixes are listed under the date of each source. In order to confine the research to a smaller scale and make the com- On the Development of Karamanlidika Writing Systems 77 parison possible, only suffixes appearing in all four editions will be presented. Suf- fixes that do not exist in all four editions may be presented here when the evidence they provide is helpful to the analysis.
The locative suffix in the edition of seems that the old form is in free variation with the new e. This needs further research since the old form of the suffix was dUr. In the second edition we see the co-existence of old and new forms e. Nevertheles in the last edition we see the suffix returning in the variation betwen old and new form e. For the editions of and there is not much evidence. The future tense as well as the Aorist do not illustrate any variation.
The conditional copula y sA appears in the edition of only in the enclitic non-harmonic form of ise while in the edition of it is already connected to the stem but not always assimilated with it e. In the editions of and we see once more only the en- clitic non-harmonic form ise. The enclitic y lA appears in the first edition both free and bound, but not harmo- nic e. In the edition of although it operates with an older form, namely y IlA n , it appears to be fully assimilated to the stem while working free as well e.
In the edition of it appears both free and bound, and assimilated in the connected form e. In this edition we see also a phenomenon not appearing in any of the other edition, namely the enclitic form which follows the harmony of the stem e. In the last edition we see only the enclitic not-harmonic form ile. In the last edition we face the phenomenon of using only the DIK form e.
In the last edition we encounter the old and the new form in free variation e. The same phenomenon occurs in the suffix sIz e. Comments on Morpho-phonology Recounting the suffixes presented in 3. This phenomenon could be attributed to the influence from Ottoman writing, which will be examined in 3.
However, in the last edition, it does assimi- late in some cases. This phenomenon could also be related to Ottoman writing and will be examined in 3. Third, the enclitic ile, though seeming to evolve gradually into a new form in the first to the third edition, returns to the enclitic non-harmonic form ile in the last one. Parallel to this we see that the enclitic y sA evolves gradually in the editions of and , but returns to the enclitic non-harmonic form in the editions of and
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