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French phonology is the sound system of French. This article discusses mainly the phonology of all the varieties of Standard French . Notable phonological features include the uvular r present in some accents, nasal vowels , and three processes affecting word-final sounds:
French orthography encompasses the spelling and punctuation of the French language.It is based on a combination of phonemic and historical principles. The spelling of words is largely based on the pronunciation of Old French c. 1100 –1200 AD, and has stayed more or less the same since then, despite enormous changes to the pronunciation of the language in the intervening years.
The sound developed variously in different varieties of Oïl: most of the surviving languages maintain a pronunciation as /we/, but Literary French adopted a dialectal pronunciation, /wa/. The doublet of français and François in modern French orthography demonstrates the mix of dialectal features.
There are some words that are pronounced with the short /a/, even though there is a circumflex; they are exceptions: câlin and bâbord, etc. Some words are pronounced differently in different regions; for example, the words lacet, nage and crabe are exceptions and are pronounced with the short /a/ in Eastern Quebec but the long /ɑ/ in Western ...
The word cadre is sometimes pronounced / ˈ k ɑː d r eɪ / in English, as though it were of Spanish origin. In French, the final e is silent and a common English pronunciation is / ˈ k ɑː d r ə /. [8] Legal English is replete with words derived from Norman French, which for a long time was the language of the courts in England and Wales ...
French: miam, crounche miam miam glouglouglou gloups German: mampf mampf mampf, hamm hamm, mjam schlürf, gluck schluck Gujarati: gudgud Hebrew: אָממ אָממ (amm amm) שלוּק (shluk) צחצוח (tsikhtsúakh), שקשוק (shikshúk refers to "shaking teeth") Hungarian: hamm nyam-nyam, csám-csám glu-glu, glugy-glugy sika-sika ...
Roussel, in writing his novel Locus Solus and elsewhere, used a technique that involved putting together in different contexts words that sound similar. The result produces unexpected and even irrational new meanings, and is a bit similar to van Rooten’s technique when he wrote Mots d'Heures: Gousses, Rames .
The process is the movement of final consonants across word boundaries to initial position in vowel-initial words so as to better conform to the French language's preference for open syllables (over 70%) [dubious – discuss], i.e., V, CV, or CCV, especially where two vowels might otherwise link together (vowel hiatus).
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