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In French spelling, aspirated "h" (French: h aspiré) is an initial silent letter that represents a hiatus at a word boundary, between the word's first vowel and the preceding word's last vowel. At the same time, the aspirated h stops the normal processes of contraction and liaison from occurring.
The voiceless glottal fricative, sometimes called voiceless glottal transition or the aspirate, [1] [2] is a type of sound used in some spoken languages that patterns like a fricative or approximant consonant phonologically, but often lacks the usual phonetic characteristics of a consonant.
Most of these words are written with a leading h (haricot, héros, haleter) which is not pronounced itself, but a few begin with a vowel or glide (onze, oui, yaourt). Note that some words beginning in h do experience liaison (e.g. homme in tout homme). Such words are said to begin with a mute h or h muet.
h – Humanité – Юманите г: Hugo – Гюго Le Havre – Гавр often in the case of h aspiré [ʒ] j, g(e) ж: Jean – Жан [k] c, qu, k к: Camus – Камю [l] l ль Gilbert – Жильбер before a consonant or at the end of a word л: Louvre – Лувр before vowels [lj] li ль Montpellier – Монпелье [m ...
The H muet, or "mute" h , is considered as though the letter were not there at all. For example, the singular definite article le or la, which is elided to l' before a vowel, elides before an H muet followed by a vowel. For example, le + hébergement becomes l'hébergement ('the accommodation').
In phonetics, aspiration is the strong burst of breath that accompanies either the release or, in the case of preaspiration, the closure of some obstruents.In English, aspirated consonants are allophones in complementary distribution with their unaspirated counterparts, but in some other languages, notably most South Asian languages and East Asian languages, the difference is contrastive.
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The modern French language does not have a significant stress accent (as English does) or long and short syllables (as Latin does). This means that the French metric line is generally not determined by the number of beats, but by the number of syllables (see syllabic verse; in the Renaissance, there was a brief attempt to develop a French poetics based on long and short syllables [see "musique ...