[gothic-l] A method to (re)construct a new Gothic Language

[Werner van Nuffel]

New Gothic Language

1° The vocabulary, destillated-out, based on the Silver Bible of 
bishop Wulfila;
2° Indepth-analysis of this vocabulary to form new words
3° Indepth analysis of the Path (traces) the Goths made and
mapping 
all the influences they made (Greek, Latin, Asian Tribes, other 
German Tribes : what do we know about their languages, 
)
4° Hypothesis 1 : all universal phenomenons (sun, moon, rain,
water, 
fire, air, earth, trees, animals, fear, hapiness, cold, warm, pain, 
dursty, bornin, death, sick,
) have generated their own
vocabulary in 
each tribe because one of them (the word-root-neologist) was the 
first who made a sound to descirbe that `thing' or
`phenomenon' and 
this sound was than also used by the other people of that community. 
So, the sound-convention was made. By oral tradition that sound 
(word) becames the `signifiant' of the `signifié'.
They didn't wait 
how other tribes describes that phenomenon. This means 
that `universal' phenomenons sounds always different in other 
cultures.
5° Hypothesis 2 : for all `import'things (aromates,
flowers, animals, 
inventions
) it seems logic they used the name that other tribes
- 
where this new things came from (objects or even `concepts',
for 
exemple `forest' or `sea')  used to describe that
strange object or 
concept. For people who lives `in' the Forest the  concept
"forest" 
don't exist.
6° Hypothesis 3 : the could also used an analogical way to think 
about "new word construction" or "reconstructive word
hypothesis" : 
for exemple : to describe new flowers the people could used a lot of 
analogues objects (using (parts) of their forms, textures, colors, 
analogue forms in (gem)stones, mountains, trees, animals
) and so 
their own name was formed. As I said in another e-mail message the 
SouthAfrican language used the name `Moletrain' to describe
`metro'. 
Isn't it a nice translation? And what do poets with words?
7° The soundscape of the Flora, Fauna and Natural Phenomenons
(wind, 
thunder
) as a source of `word-forming' (onomatopees)
8° The effect a word caused when it is `physical' spoken
(free flow 
of air, blocking the air
)
9° The effect of their real live-style ( as farmers, warriors, 
hunters, martial artists, religion artists and musicians, law and 
justice-feelings, the great stages of live : borning, growning up, to 
became a man of woman, forming a basic community to survive) and the 
a-effect it could have on forming their words
10° The using of universal motivs and the uses of wood, metals, 
stones, other materials and the use of the four elements (water, 
fire, erath and air) to transform nature into objects and the 
influence of the – in this way -  `generated' soundscape,
made by 
this utils, for their translation in a aural sound'word' to
describe 
a new `object', `phenomenon' or `concept'
(for the native indians : a mirror (a `waterreflector' 
or `waterimage') a gun (a thunder-arrow that wounds or kills
not with 
the silence of an arrow but with the sound of the thunder), drinking 
a alcohol liquid  (form them it was "firewater")
 
11° The effect of their religion (animistic-sjamanic and the used 
objects, rituals, body positions
)
12° The effect of their written letters (runs, oghams or 
other `alphabetical signs or ideographs or glyphs' on the
forming of 
their words
 
13° The influences of their music soundscape to form new words

14° What sort of language the Gothic is (musical tone-differences
in 
one word : as the Thaï language)

15° Asking the opinion of Lyric Songmakers about the musicality of 
the language

16° Using the method of the "New Latin"-word makers (how
they 
figurated out a method to do so)
17° Using techniques that other used to make, for exemple
"esperanto"

18° An indepth analysis of the first antropologist (monks and
priests 
by other native people) when they try to understand the language of 
the natives
 (also an indepth analysis why Wulfila did what he
did to 
form the Gothic language and this as a bishop. Was he a pioneer in 
setting a method that was used by all the first missionair-
antropologists?

What we know exactly about the languages of all the other German 
Tribes (Vandals, Huns, Burgundians, Franks, Alamans, Angels, Saxen, 
Vikings...)?

What sort of methodical algorith your group is using to make a new 
Gothic language? Is the making of an 'A to Z'-dictionarry a good way 
to understand in a better, systematicalal way the Gothic Language?
I'm suggestings that's better to use the method based on 
the'hypotheses one to four' and the other points i describes here 
above. So, we have a framework in which we can place our 'word-
suggestions' rather than doing this in a accidential way...

Do their exist a specialisation in the linguistic research field to 
reconstruct the sound of dead languages"('reconstructive 
phonetics"???) ? If the answer is yes, what's the description of that 
research field?

Can someone of you can give me an auditive soundscape-translation of 
The Lords' Prayer in the Gothic language. I know a "pratical harmony"-
professor in the Music Conservatory of Brussels (sir Philippe 
Sorgeloos) who likes to make a choral version of it but I don't 
really know how I need to make that auditive translation of this 
prayer? Can someone can do this job for me?
My address : Werner van Nuffel - Victor Olivierlaan 6 bus 44 - 1070 
Brussel (Belgium). Please give all your coordinates (first name, last 
name, adress, the manner in which I can pay you)in that package.
Maybe it's better to receive a 'consensus' in your Gothic Language 
group about the way this 'The Lord's Prayer' needs to sound.
So, I can make publicity on this CD for your group! OK?

Thanks in advance for any sort of comment on the method I suppose 
here and the method-algorithm you are using


Yours sincerely

Werner van Nuffel



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