May 2nd, 2008

seiranotp

A weird question about Taiwanese Mandarin slang

A friend recently asked me whether I had heard of the phrase “炒饭” (aka fried rice) being used as a Taiwanese slang phrase for "having sex". After she mentioned it, I did somewhat faintly recall coming across a similar phrase before while reading some manga translated into Taiwanese Mandarin and not really understanding what it meant, though the phrase that I recall it being is "炒冷饭" instead. (And since I can't even remember which manga the phrase was used in, I don't remember the context in which it was used.) So basically I have three questions:

(1) Is 炒饭 really used as slang for "having sex"?
(2) If so, any ideas on how it came to be? (I totally do NOT associate fried rice with having sex. O_O)
(3) Is 炒冷饭 a variation of that phrase or does it mean something COMPLETELY different?

Sorry for the rather weird nature of my question, but my friend and I would really like to know the answer. :p

Japanese particle "de"

I came across this confusing usage of particle "de" when I was doing the past year questions.
"De" can be used to indicate at a particular place.
For example:Ryou de tegami o kakimasu.
However,when someone ask:"Anata no kyoushitsu wa doko desu ka?"
Is it correct if I use "watashi no kyoushitsu wa FKBM 0.1 de desu."?
or it's better to say "watashi no kyoushitsu wa FKBM 0.1 desu.
degu

Proverbs - French

Hi :) I wonder if someone could help me with those two French proverbs, I need an explication and maybe an equivalent in English (or preferably Polish).

1. Pierre qui roule n'amasse pas mousse. (You can't become rich if you change everything all the time)
2. Ventre affame n'a pas d'oreille. (It's impossible to talk with a hungry man)

And that's all. Thanks :)
  • Current Mood
    curious curious
  • ausila

(no subject)

I know this is a heated topic, but after studying Esperanto and Lojban, and reading essays such as this, I am interested in experimenting with my own conIAL. I'm in the process of revising an old project, and perhaps the greatest topic of consternation for me is the phonology. In my old project, called hatar, I included the following available consonants:

 

Labial

Coronal

Dorsal

Glottal

Voiceless Plosives

p

t

k

?*

Voiced Plosives

b

d

g

 

Voiceless Fricatives

f

th* / s / sh*

 

h

Voiced Fricatives

v

dh* / z / zh*

 

 

Liquids

m

n /  r / l

 

 

*These digraphs represent their assumable IPA counterparts. I am going to elect the original IPA characters in my orthography, as they accurately represent the sounds. Sorry XSAMPA, you make me sad.

I know that many of you will have a problem with the inclusion of some of these sounds. I think I might include /x/, /gh/, /j/ and /w/ too, though i will probably remove /?/. I have a few reasons for my elections. First, I think that it is important in an IAL to have a symmetrical phonology. I've always had qualms with Lojban's inclusion of [sh] and [zh] through /c/ and /j/, while quite asymmetrically excluding the other side of the coronals (i.e. [th] and [dh].

My other reason for my copious phonetic inventory is that I think that a good conIAL should facilitate acquisition of other natural languages with broader phonologies. Japanese is an example of the problem I am trying to tackle. Because of its limited amount of sounds and syllable possibilities, the Japanese have a notoriously difficult time learning the pronunciation of other languages. There have also been tests, so I've read, that show that those that learn Esperanto before learning other European languages have an easier time with said natlangs than those that never learn Esperanto. This I think is owed to Esperanto being so reliable that it can act as a model on which speakers can base more complex rules of natural language. Thus if we have a simple phonology that is widely but symmetrically branching into the major languages of the world (English and Arabic both have [th] and [dh]), then it would help as an instrument to be more accustomed to all the world's phonetics. How I will apply this to the grammar is another matter that I might bring up again.


I should add that I am also interested in making a conAIL has a certain aesthetic, and that it will be a priori in origin.


The aim of my project is for a language not only to be a medium between all people, but a tool to encourage people to appreciate art and education.
But hey, I'm self taught. What's everyones opinion.
Richter

(no subject)

Just a quick question: what exactly does it mean for a vowel to be grave? I'm reading about vowel harmony in Hungarian and the author uses it as a contrastive feature and I am kinda lost because it doesn't seem to be consistent in the text. Is it just a matter of frontness/backness?