Anagram & Information om | Engelska ordet MORAE

Exempel på hur man kan använda MORAE i en mening

• Traditional Japanese haiku consist of three phrases composed of 17 morae (called on in Japanese) in a 5, 7, 5 pattern; that include a kireji, or "cutting word"; and a kigo, or seasonal reference.
• A mora (plural morae or moras; often symbolized μ) is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable.
• In terms of spelling the system is a middle ground between Kunrei-shiki and Hepburn romanisations, matching the former everywhere except for morae hu and tu, which are spelled as in Hepburn (fu and tsu), moras starting with z (which are spelled with dz, as in archaic Hepburn, but following the consistency of Kunrei-shiki with Jun being spelled as Dzyun) and syllabic n, which is changed to m before b, p and m as in traditional Hepburn.
• They also affected the sound system of the language by adding compound vowels, syllable-final nasals, and geminate consonants, which became separate morae.
• ; haiku : 俳句 , a very short poem consisting of three lines of 5, 7, and 5 morae (not syllables as commonly thought) each; see also tanka below.
• Thus most on'yomi are composed of two morae (beats), the second of which is either a lengthening of the vowel in the first mora (to ei, ō, or ū), the vowel i, or one of the syllables ku, ki, tsu, chi, fu (historically, later merged into ō and ū), or moraic n, chosen for their approximation to the final consonants of Middle Chinese.
• In moraic theory, heavy syllables are analyzed as containing two morae, light syllables one, and superheavy syllables three.
• It has often been asserted that languages exhibit regularity in the timing of successive units of speech, a regularity referred to as isochrony, and that every language may be assigned one of three rhythmical types: stress-timed (where the durations of the intervals between stressed syllables is relatively constant), syllable-timed (where the durations of successive syllables are relatively constant) and mora-timed (where the durations of successive morae are relatively constant).
• When lengthening "-i" or "-e" morae in Japanese braille, a chōon is always used, as is standard in katakana orthography, instead of adding the い / イ kana.
• Unlike in kana, Braille yōon is prefixed to the -a/-u/-o morae, rather than appending ya, yu or yo to an -i kana, e.
• Often concerning love or work, and usually comical, Dodoitsu poems consist of four lines with the moraic structure 7-7-7-5 and no rhyme for a total of 26 morae, making it one of the longer Japanese forms.
• "Ionics" may refer inclusively to poetry composed of the various metrical units of the same total quantitative length (six morae) that may be used in combination with ionics proper: ionics, choriambs, and anaclasis.
• Thus a Tribrach, Iamb and Trochee all equate to the same durations or morae: each of them comprises 3 morae.
• As Kanji are logographic and Kana encode entire syllables (or rather, morae), the higher information density of Japanese writing usually evens out with the larger text so that Japanese and English texts take about the same amount of space, but challenges arise with foreign consonant clusters incompatible with Japanese phonotactics and the Kana system.
• One way of explaining these facts is to analyse Luganda words as consisting of morae or moras, that is, speech segments each lasting a certain time.
• In these languages, metrical feet consist of two syllables or morae, forming either strong right-foot iambs or strong left-foot trochees.
• Usually each metron has exactly 6 morae, but there is also a less strict type of sotadean found in some writers in which a metron may have 7 morae, such as – u – –, – – – u, or – – u –.
• In an alternative system called , characters inside a cartouche can be followed by interpuncts or dots, where each interpunct represents the next mora of the word, and a colon represents all morae of the word.

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