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"An Explanation of the Logic of Hmong RPA" (PDF). Hmong Studies Journal. 21: 1–15. Tapp, Nicholas. "Qha Ke (Guiding the Way) From the Hmong Ntsu of China, 1943". Hmong Studies Journal. 9. Thao, Kia (April 2012). Phonetics of the Hmong White Language. Celebration of Excellence in Research and Creative Activity. University of Wisconisn, Eau Claire.
Many Hmong and non-Hmong people who are learning the Hmong language tend to use the word xim (a borrowing from Thai/Lao) as the word for 'color', while the native Hmong word for 'color' is kob. For example, xim appears in the sentence Liab yog xim ntawm kev phom sij with the meaning "Red is the color of danger / The red color is of danger".
The lowest tones—Northern tones 4 and 6, Eastern tones 3 and 8, and Southern tone 6—are said to make the preceding consonant murmured (breathy voiced), presumably meaning that these are murmured tones as in other Hmongic languages. They are marked with ̤ in the chart.
This was a French version of the Hmong alphabet developed by Father Savina during French colonization of Indochina. Rather than resembling Ntour Hmongz (Hmong Vietnamese) or Ntawv Hmoob (RPA), it uses tone symbols, like Quốc ngữ writing used for Vietnamese today. It may have been in use before independence, but its use since has waned.
The Romanized Popular Alphabet (RPA) or Hmong RPA (also Roman Popular Alphabet), is a system of romanization for the various dialects of the Hmong language.Created in Laos between 1951 and 1953 by a group of missionaries and Hmong advisers, it has gone on to become the most widespread system for writing the Hmong language in the West.
Pahawh Hmong (RPA: Phaj hauj Hmoob [pʰâ hâu m̥ɔ̃́], Pahawh: 𖬖𖬰𖬝𖬵 𖬄𖬶𖬟 𖬌𖬣𖬵 [pʰâ hâu m̥ɔ̃́]; known also as Ntawv Pahawh, Ntawv Keeb, Ntawv Caub Fab, Ntawv Soob Lwj) is an indigenous semi-syllabic script, invented in 1959 by Shong Lue Yang, to write two Hmong languages, Hmong Daw (Hmoob Dawb / White Miao) and Hmong Njua AKA Hmong Leng (Moob Leeg / Green ...
The tone contours of Mandarin Chinese. In the convention for Chinese, 1 is low and 5 is high. The corresponding tone letters are ˥, ˧˥, ˨˩˦, ˥˩.. A series of iconic tone letters based on a musical staff was devised by Yuen Ren Chao in the 1920s [2] by adding a reference stave to the existing convention of the International Phonetic Alphabet.
The incidence of these tones in Chinese, Tai and Hmong–Mien words follows a similar ratio 2:1:1. [17] Thus rhyme dictionaries such as the Qieyun divide the level tone between two volumes while covering each of the other tones in a single volume. Vietnamese has a different distribution, with tone B four times more common than tone C. [17]