By Hans-Christian Leiper Kirsch, Thomas L Kane, Wolf Leslau
This selection of essays has reasons: first to offer the complicated scholar of Amharic a pattern of the Amharic writing sort and secondly to supply info on Ethiopia's cultural heritage. The texts have been written through a number of Ethiopian college scholars a few forty years in the past on matters with which they have been so much time-honored resembling naming, christening, marriage ceremony, burial rite, foods and drinks, the way of donning outfits, condominium development in Amhara nation, day-by-day paintings of an Ethiopian lady, landholding disputes, good looks, service provider, mercato, kingdom marketplace, artisans, elderhood, monks, dabtara, monkhood, divination, Christmas, Easter, Addis Ababa, the town of Gondar, Harar urban and so on. even if your time has handed because the assortment was once compiled the texts exhibit an outstanding photograph of Ethiopian tradition. each one Amharic textual content is given an English translation at the contrary aspect. The publication is done through an Amharic-English Dictionary of approximately ninety pages and an index of English phrases and Amharic lexemes.
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Extra info for Amharic Cultural Reader
My knowledge of the Eastern region comes mainly from my work with speakers in Tat Deh, from conversations with Hupd’h from those regions who arrived in Tat Deh and in Barreira Alta on visits, and from a visit to the village of Cabari Santa Cruz / Pij Deh in the Eastern dialect region. I also visited all of the villages along the middle Tiquié River that represent the Central region (Nova Esperança / B’oy Deh, Cruzeiro / Paya/ Deh, Imbaúba / B’ab’a/ Deh, and Nova Fundação / PN Deh). My knowledge of the Western dialect is limited to data collected during a week spent in the village of Umari Norte / PQj J’h Deh) on the upper Tiquié River.
11 According to male ethnographers such as Reichel-Dolmatoff (1978: 5), these instruments are fashioned from strips of bark, twisted into a spiral to form long funnel-shaped instruments, with mouthpieces of black hardwood. According to the Hupd’h, each trumpet ernbodies the spirit of an ancestral figure, whose voice is heard when it is played. The trumpets are typically associated with the wild fruits or wild game intended for a dabacuri, and (in my experience) they are played initially in the forest as the men bring the offering into the village, and then in the village itself for several hours, while the women hide in the forest or in an enclosed hut.
This underscores the difficulty in assessing mutual intelligibility among the Vaupés languages on the basis of native speakers’ own reports. Sorensen (1967), Grimes (1985), Aikhenvald (2002a), and others have reported on the strictness of Vaupés Indians’ evaluation of competence in a language; people do not typically admit to ‘knowing’ or ‘speaking’ a language unless they have an almost native-speaker fluency, and will often switch to the lingua franca (Tukano) if uncomfortable. 4. The cultural context of the Hupd’ h In this section, I give a brief overview of some aspects of Hup culture.