cyanic-selkie/wikianc huggingface dataset:
Peggy Antrobus
Peggy Antrobus (janm 1935) kairibiyan kee ek naareevaadee kaaryakarta, lekhika aur vidvaan hain. unhonne jamaika sarakaar ke mahila maamalon ke salaahakaar aur baarabaados saamaajik parivartan mantraalay ke sanyukt raashtr salaahakaar ke roop mein kaary kiya. vah kairebiyan esosieshan phor pheminist risarch end ekshan (chafr), global sauth pheminist netavark devalapament altaranetivs vid voomen phor e nyoo era (dawn), aur intaraneshanal jendar end tred netavark sahit kaee naareevaadee sangathanon kee sansthaapak sadasy hain. (aaeejeeteeen). vah da global voomen moovament: orijins, ishyooj end straitejeej (jed buks, 2004) kee lekhika hain. Peggy Antrobus ka janm 1935 mein grenaada mein hua tha. unhonne sent loosiya mein sent joseph konvent mein aur baad mein sent vinsent garls haee skool mein adhyayan kiya. unhonne 1954 mein bristal vishvavidyaalay mein arthashaastr mein snaatak kiya, aur yoonaited kingadam ke barmingham vishvavidyaalay mein saamaajik kaary mein ek peshevar pramaanapatr praapt kiya. unhonne 1998 mein maisaachusets vishvavidyaalay, emaharst se shiksha mein doktaret kee upaadhi praapt kee. Peggy Antrobus ko 1974 mein jamaika sarakaar ke lie mahila maamalon par salaahakaar niyukt kiya gaya tha. maireelaind vishvavidyaalay mein mahilaon ke adhyayan ke sahayogee prophesar mishel rolee ke anusaar, yah entrobas kee naareevaadee chetana kee shuruaat thee. 1987 mein, unhonne vest indeej vishvavidyaalay (uwi) mein mahila aur vikaas ikaee (wand) kee sthaapana kee aur 1995 mein sevaanivrtt hone tak isakee pramukh theen. Any kairebiyaee kaaryakartaon, kalaakaaron, aur vidvaanon jaise onar phord-smith, soniya kyooles, sinthiya elis, jon phrench, roda redadok aur rovida bakhsh-soodeen ke saath, entrobas ne kairebiyan esosieshan phor pheminist risarch end ekshan (chafr) kee sthaapana 1985 mein kee. vah ek nae yug mein mahilaon ke lie vikaas vikalp (dawn) kee sansthaapak sadasy bhee theen aur 1990 se 1996 tak sangathan ke saamaany samanvayak ke roop mein kaary kiya. Oos samay ke kaee any pramukh naareevaadiyon aur mahila adhikaar kaaryakartaon ke saath, paigee entrobas mahilaon par sanyukt raashtr vishv sammelan mein gaharaee se shaamil theen, jisamen 1975 mein maiksiko sitee mein pahala sammelan bhee shaamil tha. amerikee naareevaadee aur lekhak shaarlot banch, entrobas ko is udghaatan ke baare mein kahate hue uddhrt karate hain. mahilaon ka antarraashtreey jamaavada: "yah is sandarbh mein tha ki duniya bhar kee mahilaon ne pahalee baar ek nirantar aur nirantar gahan prakriya mein ek-doosare ka saamana kiya .... [vah] is aandolan ko is tarah se poshit aur vistaarit karana tha ki yahaan tak ​​​​ki isaka bhee nahin sabase majaboot naayak kee kalpana kee ja sakatee thee."
Italian Sign bhasa
vibhag:Bhasa
Helen Armstrong (activist)
Helen Armstrong (1875-1947) ek kanaadaee maanavaadhikaar aur shramik kaaryakarta theen, jinhonne 1919 mein vinnipeg kee aam hadataal mein bhaag liya tha. 1919 mein aam hadataal se pahale hee aarmastraang ne ek kattarapanthee kaaryakarta ke roop mein apanee pratishtha vikasit kee. 1917 mein, unhonne mahila shram leeg kee sahaayata kee, jisane "sangh sangathan, raajaneetik vakaalat, mahila shramikon kee shiksha ... unake apane adhikaaron" mein madad kee. vah purushon aur mahilaon kee samaanata mein drdh vishvaas rakhatee theen aur mahilaon ko apane lie ladane ke lie sashakt banaane ke lie adig theen. unhonne 1917 mein da teleegraam ke sampaadak ko likhe ek patr mein kaha: "ladakiyon ko ladana seekhana hai kyonki purushon ko jeene ke adhikaar ke lie karana pada hai, aur ham lebar leeg kee mahilaen apana saara khaalee samay koshish karane mein laga rahee hain. ladakiyon ko sangathit karane ke lie maastar klaas ne apane hiton kee raksha ke lie kiya hai." 1918 mein, vah "mainitoba mein mahilaon ke lie nyoonatam majadooree kaanoon ke lie abhiyaan" mein ek neta theen. pratham vishv yuddh ke dauraan, usane eliyans kee or se vakaalat kee, ya jinhen aantarik dushman maana jaata tha, saath hee sainikon kee patniyon aur bachchon ke lie badhee huee penshan ke lie sarakaar kee pairavee kee. vah apane pati ke saath apanee sakriyata ke lie kaee baar jel gaeen, lekin phir bhee apane poore samay mein kanaada kee utpeedit aabaadee ke lie ek mukhar vakeel banee raheen. 1919 mein vinnipeg aam hadataal ke dauraan, kaee log ek nirdhaarit nyoonatam vetan, aath ghante ke kaary divas, saath hee ek sangh ko sangathit karane ke adhikaar ke lie sangharsh kar rahe the. is hadataal ko kanaada ke itihaas kee drshti se sabase mahatvapoorn maana jaata hai. aam hadataal ke dauraan, unhonne purushon aur mahilaon ke beech vetan asamaanata ke khilaaph abhiyaan chalaaya, aur asvasth paristhitiyon mein badalaav ke lie kaee mahilaon ko kaam karate samay saamana karana pada. unhonne sabhee mahilaon kee or se vakaalat kee, chaahe unaka varg ya pesha kuchh bhee ho. usane aisa "piket lain par chalane, praanteey vidhaayika mein apana maamala banaane, ya pulis adaalat ke majistret ka saamana karane ke sandarbh mein […] .. itana asahaneey ki ant mein sadak unhen aasaan shikaar ke roop mein daava karatee hai." hadataal ke dauraan, vah kaee mahilaon kee madad karane mein saksham thee, jinhonne aandolan mein sahaayata karane ke lie kaam chhod diya tha, jahaan ve ja sakate the, jahaan ve ja sakate the. aur bhojan praapt karen aur jab sambhav ho, kirae ka bhugataan karane ke lie paise se madad karen.
Sally Armstrong (journalist)
Sally Armstrong (janm 1943) ek Canada ke patrakaar, vrttachitr philm nirmaata aur maanavaadhikaar kaaryakarta hain. aarmastraang ka janm montriyal, kyoobek mein hua tha. unhonne 1966 mein maikagil vishvavidyaalay se shiksha snaatak kee digree praapt kee aur 2001 mein toranto vishvavidyaalay se maastar oph sains kee digree praapt kee. unhonne 1975 se 1988 talak kainediyan living patrika ke lie kaam kiya. 1988 se 1999 talak vah homamekars patrika kee pradhaan sampaadak theen. vah 2001 se 2010 talak maikleen kee ek yogadaan sampaadak theen. 2002 mein, vah aphagaanistaan mein yooniseph kee vishesh pratinidhi theen. vah mila (1992), veeld thret: da hidan paavar oph da voomen oph aphagaanistaan (2002), da nain laivs oph chaarlot telar (2007), bitar roots, tendar shoots: da anasarten phet oph aphagaanistaans veemen (2008) kee lekhika hain. mahilaon ka aarohan: har maan kee betee ke lie ek naya yug shuroo ho raha hae (2013). 2001 mein, vah 2003 mein pholing phrom da skaee end dotars oph aphagaanistaan dokyoomentree kee patakatha lekhika theen. 1998 mein, unhen kanaada ke aadesh ka sadasy banaaya gaya tha. 2002 mein, unhen maikagil vishvavidyaalay se doktaret kee maanad upaadhi se sammaanit kiya gaya. 2000 mein, unhonne chetelain patrika mein apane lekh "onars viktims" ke lie emanestee intaraneshanal meediya avaard jeeta. vah 2002 mein chetelain patrika mein apane lekh "speeking deyar pees" ke lie aur phir 2011 mein chetelain mein apane lekh "dis litil garls aar set aaut too chenj da varld" ke lie jeeteen. unhonne chairitee buks vid vings kee sthaapana ke saath richard gordan ko mahatvapoorn samarthan pradaan kiya. sailee aarmastraang ek sanyukt raashtr samooh kee sadasy hain jisamen 20 philisteenee mahilaen, 20 ijaraayalee mahilaen aur any raashtreeyata kee 12 mahilaen shaamil hain jo madhy poorv mein shaanti laane mein madad karane ke lie kaam kar rahee hain. 1996 mein unhen toranto ke ywch dvaara sanchaar mein vuman of distinkshan avaard se sammaanit kiya gaya. vah 2019 seebeesee maisee lekchars, "paavar shipht: da longest revolyooshan" naamak ek shrrnkhala ke lie aamantrit vakta theen, jisamen unhonne kaha tha ki "mahilaon kee sthiti mein sudhaar hamaare saamoohik astitv aur sampann hone ke lie mahatvapoorn tha."
Bharat Ratna
Bharat Ratna ( Hindi pronunciation: [bʰaːɾət̪ rət̪nə]; Jewel of India) Republic of India ke sabase baraa civil award hae. iske suruvaat 2 January 1954, ko kiya gayaa raha, ii award bika kisi race, occupation, position, yaa sex ke bhedbhaav ke diya jataa hae. Ii award India ke Rashtrapati (President of India) se diyaa jae hae. Il award ki purani chakra ke emblem burnished bronze ki bane gais hai aur 4.7 mm wide hair, 5.8 mm lamba aur 3.1 mm thick. Iska design leaf jaisa hai. Doosre taraf ek ashok ke sher ke tasveer hai. Sundial urf chakra pehle silver gilt ka bana gais tha.
Isse pehle di gai medal: Padma Vibhushan
International Phonetic Alphabet
The International Phonetic Alphabet (IPA) is an alphabetic system of phonetic notation based primarily on the Latin script. It was devised by the International Phonetic Association in the late 19th century as a standardized representation of speech sounds in written form. The IPA is used by lexicographers, foreign language students and teachers, linguists, speech–language pathologists, singers, actors, constructed language creators, and translators.
Bharat Ratna
Bahaari jorr
vibhag:India vibhag:Suchi
International Phonetic Alphabet
Segments are transcribed by one or more IPA symbols of two basic types: letters and diacritics. For example, the sound of the English letter t may be transcribed in IPA with a single letter:, or with a letter plus diacritics: , depending on how precise one wishes to be. Slashes are used to signal phonemic transcription; therefore, is more abstract than either  or  and might refer to either, depending on the context and language.
History
In 1886, a group of French and British language teachers, led by the French linguist Paul Passy, formed what would be known from 1897 onwards as the International Phonetic Association (in French, l'Association phonétique internationale). Their original alphabet was based on a spelling reform for English known as the Romic alphabet, but to make it usable for other languages the values of the symbols were allowed to vary from language to language. For example, the sound (the sh in shoe) was originally represented with the letter c in English, but with the digraph ch in French. In 1888, the alphabet was revised to be uniform across languages, thus providing the base for all future revisions. The idea of making the IPA was first suggested by Otto Jespersen in a letter to Passy. It was developed by Alexander John Ellis, Henry Sweet, Daniel Jones, and Passy.
Ayodhya
Ayodhya (Hindustani: [əˈjoːdʱjaː] (listen); IAST: Ayodhyā) Saryu nadi ke kinaare Uttar Pradesh, India me basaa hae.Ii Bhagwan Ram ke janmbhoomi hae.
Punch
Punch bhaarat mein Jammu and Kashmir ke Municipal board hain.
Ayodhya
vibhag:Uttar Pradesh
Yako Sector
Yako Sector Fiji ke ganna ke kisan ke administration ke khatir ek sector hai jon ki Nadi district me hai. 2011 me isme 341 kisan rahin, lekin khaali 260 kisan logan 37,026 ton ganna kaate rahin.
References
vibhag:Nadi vibhag:Fiji ke chini udhyog
International Phonetic Alphabet
History
Since its creation, the IPA has undergone a number of revisions. After revisions and expansions from the 1890s to the 1940s, the IPA remained primarily unchanged until the Kiel Convention in 1989. A minor revision took place in 1993 with the addition of four letters for mid central vowels and the removal of letters for voiceless implosives. The alphabet was last revised in May 2005 with the addition of a letter for a labiodental flap. Apart from the addition and removal of symbols, changes to the IPA have consisted largely of renaming symbols and categories and in modifying typefaces.
Extensions to the International Phonetic Alphabet for speech pathology (extIPA) were created in 1990 and were officially adopted by the International Clinical Phonetics and Linguistics Association in 1994.
Description
The general principle of the IPA is to provide one letter for each distinctive sound (speech segment). This means that:
The alphabet is designed for transcribing sounds (phones), not phonemes, though it is used for phonemic transcription as well. A few letters that did not indicate specific sounds have been retired (, once used for the "compound" tone of Swedish and Norwegian, and, once used for the moraic nasal of Japanese), though one remains: , used for the sj-sound of Swedish. When the IPA is used for phonemic transcription, the letter–sound correspondence can be rather loose. For example, and  are used in the IPA Handbook for  and.
Among the symbols of the IPA, 107 letters represent consonants and vowels, 31 diacritics are used to modify these, and 17 additional signs indicate suprasegmental qualities such as length, tone, stress, and intonation. These are organized into a chart; the chart displayed here is the official chart as posted at the website of the IPA.
Letter forms
The letters chosen for the IPA are meant to harmonize with the Latin alphabet. For this reason, most letters are either Latin or Greek, or modifications thereof. Some letters are neither: for example, the letter denoting the glottal stop,, originally had the form of a dotless question mark, and derives from an apostrophe. A few letters, such as that of the voiced pharyngeal fricative,, were inspired by other writing systems (in this case, the Arabic letter ⟨ﻉ⟩, , via the reversed apostrophe).
Some letter forms derive from existing letters:
Typography and iconicity
The International Phonetic Alphabet is based on the Latin script, and uses as few non-Latin letters as possible. The Association created the IPA so that the sound values of most letters would correspond to "international usage" (approximately Classical Latin). Hence, the consonant letters, , , (hard) , (non-silent) , (unaspirated) , , , , (unaspirated) , (voiceless) , (unaspirated) , , , and have more or less the values found in English; and the vowel letters , , , ,  correspond to the (long) sound values of Latin:  is like the vowel in machne,  is as in rle, etc. Other Latin letters, particularly ,  and , differ from English, but have their IPA values in Latin or other European languages.
This basic Latin inventory was extended by adding small-capital and cursive forms, diacritics and rotation. The sound values of these letters are related to those of the original letters, and their derivation may be iconic. For example, letters with a rightward-facing hook at the bottom represent retroflex equivalents of the source letters, and small capital letters usually represent uvular equivalents of their source letters.
There are also several letters from the Greek alphabet, though their sound values may differ from Greek. The most extreme difference is, which is a vowel in Greek but a consonant in the IPA. For most Greek letters, subtly different glyph shapes have been devised for the IPA, specifically, , , , , and , which are encoded in Unicode separately from their parent Greek letters. One, however – – has only its Greek form, while for  and, both Greek and Latin forms are in common use. The tone letters are not derived from an alphabet, but from a pitch trace on a musical scale.
Beyond the letters themselves, there are a variety of secondary symbols which aid in transcription. Diacritic marks can be combined with IPA letters to add phonetic detail such as tone and secondary articulations. There are also special symbols for prosodic features such as stress and intonation.
Brackets and transcription delimiters
There are two principal types of brackets used to set off (delimit) IPA transcriptions:
Other conventions are less commonly seen:
All three of the above are provided by the IPA Handbook. The following are not, but may be seen in IPA transcription or in associated material (especially angle brackets):
Some examples of contrasting brackets in the literature:
Other representations
IPA letters have cursive forms designed for use in manuscripts and when taking field notes, but the 1999 Handbook of the International Phonetic Association recommended against their use, as cursive IPA is "harder for most people to decipher." A braille representation of the IPA for blind or visually impaired professionals and students has also been developed.
Modifying the IPA chart
The International Phonetic Alphabet is occasionally modified by the Association. After each modification, the Association provides an updated simplified presentation of the alphabet in the form of a chart. (See History of the IPA.) Not all aspects of the alphabet can be accommodated in a chart of the size published by the IPA. The alveolo-palatal and epiglottal consonants, for example, are not included in the consonant chart for reasons of space rather than of theory (two additional columns would be required, one between the retroflex and palatal columns and the other between the pharyngeal and glottal columns), and the lateral flap would require an additional row for that single consonant, so they are listed instead under the catchall block of "other symbols". The indefinitely large number of tone letters would make a full accounting impractical even on a larger page, and only a few examples are shown, and even the tone diacritics are not complete; the reversed tone letters are not illustrated at all.
The procedure for modifying the alphabet or the chart is to propose the change in the Journal of the IPA. (See, for example, August 2008 on an open central unrounded vowel and August 2011 on central approximants.) Reactions to the proposal may be published in the same or subsequent issues of the Journal (as in August 2009 on the open central vowel). A formal proposal is then put to the Council of the IPA – which is elected by the membership – for further discussion and a formal vote.
Nonetheless, many users of the alphabet, including the leadership of the Association itself, deviate from this norm. The Journal of the IPA finds it acceptable to mix IPA and extIPA symbols in consonant charts in their articles. (For instance, including the extIPA letter voiceless palatal lateral fricative, rather than, in an illustration of the IPA.)
Usage
Of more than 160 IPA symbols, relatively few will be used to transcribe speech in any one language, with various levels of precision. A precise phonetic transcription, in which sounds are specified in detail, is known as a narrow transcription. A coarser transcription with less detail is called a broad transcription. Both are relative terms, and both are generally enclosed in square brackets. Broad phonetic transcriptions may restrict themselves to easily heard details, or only to details that are relevant to the discussion at hand, and may differ little if at all from phonemic transcriptions, but they make no theoretical claim that all the distinctions transcribed are necessarily meaningful in the language.
For example, the English word little may be transcribed broadly as, approximately describing many pronunciations. A narrower transcription may focus on individual or dialectical details: in General American,  in Cockney, or  in Southern US English.
Phonemic transcriptions, which express the conceptual counterparts of spoken sounds, are usually enclosed in slashes (/ /) and tend to use simpler letters with few diacritics. The choice of IPA letters may reflect theoretical claims of how speakers conceptualize sounds as phonemes or they may be merely a convenience for typesetting. Phonemic approximations between slashes do not have absolute sound values. For instance, in English, either the vowel of pick or the vowel of peak may be transcribed as, so that pick, peak would be transcribed as or as ; and neither is identical to the vowel of the French pique which would also be transcribed. By contrast, a narrow phonetic transcription of pick, peak, pique could be:, ,.
Linguists
IPA is popular for transcription by linguists. Some American linguists, however, use a mix of IPA with Americanist phonetic notation or use some nonstandard symbols for various reasons. Authors who employ such nonstandard use are encouraged to include a chart or other explanation of their choices, which is good practice in general, as linguists differ in their understanding of the exact meaning of IPA symbols and common conventions change over time.
English
Many British dictionaries, including the Oxford English Dictionary and some learner's dictionaries such as the Oxford Advanced Learner's Dictionary and the Cambridge Advanced Learner's Dictionary, now use the International Phonetic Alphabet to represent the pronunciation of words. However, most American (and some British) volumes use one of a variety of pronunciation respelling systems, intended to be more comfortable for readers of English and to be more acceptable across dialects, without the implication of a preferred pronunciation that the IPA might convey. For example, the respelling systems in many American dictionaries (such as Merriam-Webster) use y for IPA and sh for IPA, reflecting the usual spelling of those sounds in English. (In IPA, represents the sound of the French u, as in tu, and  represents the sequence of consonants in graopper.)
Other languages
The IPA is also not universal among dictionaries in languages other than English. Monolingual dictionaries of languages with phonemic orthographies generally do not bother with indicating the pronunciation of most words, and tend to use respelling systems for words with unexpected pronunciations. Dictionaries produced in Israel use the IPA rarely and sometimes use the Hebrew alphabet for transcription of foreign words. Bilingual dictionaries that translate from foreign languages into Russian usually employ the IPA, but monolingual Russian dictionaries occasionally use pronunciation respelling for foreign words. The IPA is more common in bilingual dictionaries, but there are exceptions here too. Mass-market bilingual Czech dictionaries, for instance, tend to use the IPA only for sounds not found in Czech.
Standard orthographies and case variants
IPA letters have been incorporated into the alphabets of various languages, notably via the Africa Alphabet in many sub-Saharan languages such as Hausa, Fula, Akan, Gbe languages, Manding languages, Lingala, etc. Capital case variants have been created for use in these languages. For example, Kabiyè of northern Togo has Ɖ ɖ, Ŋ ŋ, Ɣ ɣ, Ɔ ɔ, Ɛ ɛ, Ʋ|Ʋ ʋ. These, and others, are supported by Unicode, but appear in Latin ranges other than the IPA extensions.
In the IPA itself, however, only lower-case letters are used. The 1949 edition of the IPA handbook indicated that an asterisk * might be prefixed to indicate that a word was a proper name, but this convention was not included in the 1999 Handbook, which notes the contrary use of the asterisk as a placeholder for a sound or feature that does not have a symbol.
Classical singing
The IPA has widespread use among classical singers during preparation as they are frequently required to sing in a variety of foreign languages. They are also taught by vocal coaches to perfect diction and improve tone quality and tuning. Opera librettos are authoritatively transcribed in IPA, such as Nico Castel's volumes and Timothy Cheek's book Singing in Czech. Opera singers' ability to read IPA was used by the site Visual Thesaurus, which employed several opera singers "to make recordings for the 150,000 words and phrases in VT's lexical database ... for their vocal stamina, attention to the details of enunciation, and most of all, knowledge of IPA".
Letters
The International Phonetic Association organizes the letters of the IPA into three categories: pulmonic consonants, non-pulmonic consonants, and vowels.
Vowel letters are also grouped in pairs—of unrounded and rounded vowel sounds—with these pairs also arranged from front on the left to back on the right, and from maximal closure at top to minimal closure at bottom. No vowel letters are omitted from the chart, though in the past some of the mid central vowels were listed among the 'other symbols'.
Pulmonic consonants
A pulmonic consonant is a consonant made by obstructing the glottis (the space between the vocal cords) or oral cavity (the mouth) and either simultaneously or subsequently letting out air from the lungs. Pulmonic consonants make up the majority of consonants in the IPA, as well as in human language. All consonants in English fall into this category.
The pulmonic consonant table, which includes most consonants, is arranged in rows that designate manner of articulation, meaning how the consonant is produced, and columns that designate place of articulation, meaning where in the vocal tract the consonant is produced. The main chart includes only consonants with a single place of articulation.
Notes
Non-pulmonic consonants
Non-pulmonic consonants are sounds whose airflow is not dependent on the lungs. These include clicks (found in the Khoisan languages and some neighboring Bantu languages of Africa), implosives (found in languages such as Sindhi, Hausa, Swahili and Vietnamese), and ejectives (found in many Amerindian and Caucasian languages).
Notes
Affricates
Affricates and co-articulated stops are represented by two letters joined by a tie bar, either above or below the letters with no difference in meaning. Affricates are optionally represented by ligatures (e.g. ), though this is no longer official IPA usage because a great number of ligatures would be required to represent all affricates this way. Alternatively, a superscript notation for a consonant release is sometimes used to transcribe affricates, for example for, paralleling  ~. The letters for the palatal plosives and  are often used as a convenience for  and  or similar affricates, even in official IPA publications, so they must be interpreted with care.
Co-articulated consonants
Co-articulated consonants are sounds that involve two simultaneous places of articulation (are pronounced using two parts of the vocal tract). In English, the in "went" is a coarticulated consonant, being pronounced by rounding the lips and raising the back of the tongue. Similar sounds are and. In some languages, plosives can be double-articulated, for example in the name of Laurent Gbagbo.
Notes
Vowels
The vertical axis of the chart is mapped by vowel height. Vowels pronounced with the tongue lowered are at the bottom, and vowels pronounced with the tongue raised are at the top. For example, (the first vowel in father) is at the bottom because the tongue is lowered in this position. (the vowel in "meet") is at the top because the sound is said with the tongue raised to the roof of the mouth.
In a similar fashion, the horizontal axis of the chart is determined by vowel backness. Vowels with the tongue moved towards the front of the mouth (such as, the vowel in "met") are to the left in the chart, while those in which it is moved to the back (such as , the vowel in "but") are placed to the right in the chart.
In places where vowels are paired, the right represents a rounded vowel (in which the lips are rounded) while the left is its unrounded counterpart.
Diphthongs
Diphthongs are typically specified with a non-syllabic diacritic, as in or, or with a superscript for the on- or off-glide, as in  or. Sometimes a tie bar is used:, especially if it is difficult to tell if the diphthong is characterized by an on-glide, an off-glide or is variable.
Notes
Diacritics and prosodic notation
Diacritics are used for phonetic detail. They are added to IPA letters to indicate a modification or specification of that letter's normal pronunciation.
By being made superscript, any IPA letter may function as a diacritic, conferring elements of its articulation to the base letter. Those superscript letters listed below are specifically provided for by the IPA Handbook; other uses can be illustrated with ( with fricative release),  ( with affricate onset),  (prenasalized ),  ( with breathy voice),  (glottalized ),  ( with a flavor of, i.e. a voiceless alveolar retracted sibilant),  ( with diphthongization),  (compressed ). Superscript diacritics placed after a letter are ambiguous between simultaneous modification of the sound and phonetic detail at the end of the sound. For example, labialized may mean either simultaneous  and  or else  with a labialized release. Superscript diacritics placed before a letter, on the other hand, normally indicate a modification of the onset of the sound ( glottalized,  with a glottal onset). (See .)
Notes
Subdiacritics (diacritics normally placed below a letter) may be moved above a letter to avoid conflict with a descender, as in voiceless. The raising and lowering diacritics have optional spacing forms, that avoid descenders.
The state of the glottis can be finely transcribed with diacritics. A series of alveolar plosives ranging from open-glottis to closed-glottis phonation is:
Additional diacritics are provided by the Extensions to the IPA for speech pathology.
Cuvu Sector
Cuvu Sector Fiji ke ganna ke kisan ke administration ke khatir ek sector hae jon ki Sigatoka district me hae. 2011 me isme 382 kisan rahin, lekin khaali 226 kisan logan 32,652 ton ganna kaate rahin.
References
vibhag:Nadi vibhag:Fiji ke chini udhyog
International Phonetic Alphabet
Suprasegmentals
Under capital letters below we will see how a carrier letter may be used to indicate suprasegmental features such as labialization or nasalization. Some authors omit the carrier letter, for e.g. suffixed or prefixed, or place a spacing variant of a diacritic such as  or  at the beginning or end of a word to indicate that it applies to the entire word.
Boundary markers
There are three boundary markers: for a syllable break,  for a minor prosodic break and  for a major prosodic break. The tags 'minor' and 'major' are intentionally ambiguous. Depending on need, 'minor' may vary from a foot break to a break in list-intonation to a continuing–prosodic unit boundary (equivalent to a comma), and while 'major' is often any intonation break, it may be restricted to a final–prosodic unit boundary (equivalent to a period). The 'major' symbol may also be doubled,, for a stronger break.
Pitch and tone
are defined in the Handbook as "upstep" and "downstep", concepts from tonal languages. However, the upstep symbol can also be used for pitch reset, and the IPA Handbook uses it for prosody in the illustration for Portuguese, a non-tonal language.
Phonetic pitch and phonemic tone may be indicated by either diacritics placed over the nucleus of the syllable (e.g., high-pitch ) or by Chao tone letters placed either before or after the word or syllable. There are three graphic variants of the tone letters: with or without a stave, and facing left or facing right from the stave. The stave was introduced with the 1989 Kiel Convention, as was the option of placing a staved letter after the word or syllable, while retaining the older conventions. There are therefore six ways to transcribe pitch/tone in the IPA: i.e.,, , , , and  for a high pitch/tone. Of the tone letters, only left-facing staved letters and a few representative combinations are shown in the summary on the Chart, and in practice it is currently more common for tone letters to occur after the syllable/word than before, as in the Chao tradition. Placement before the word is a carry-over from the pre-Kiel IPA convention, as is still the case for the stress and upstep/downstep marks. The IPA endorses the Chao tradition of using the left-facing tone letters,, for underlying tone, and the right-facing letters, , for surface tone, as occurs in tone sandhi, and for the intonation of non-tonal languages. In the Portuguese illustration in the 1999 Handbook, tone letters are placed before a word or syllable to indicate prosodic pitch (equivalent to global rise and  global fall, but allowing more precision), and in the Cantonese illustration they are placed after a word/syllable to indicate lexical tone. Theoretically therefore prosodic pitch and lexical tone could be simultaneously transcribed in a single text, though this is not a formalized distinction.
Rising and falling pitch, as in contour tones, are indicated by combining the pitch diacritics and letters in the table, such as grave plus acute for rising and acute plus grave for falling. Only six combinations of two diacritics are supported, and only across three levels (high, mid, low), despite the diacritics supporting five levels of pitch in isolation. The four other explicitly approved rising and falling diacritic combinations are high/mid rising, low rising , high falling , and low/mid falling.
The Chao tone letters, on the other hand, may be combined in any pattern, and are therefore used for more complex contours and finer distinctions than the diacritics allow, such as mid-rising, extra-high falling , etc. There are 20 such possibilities. However, in Chao's original proposal, which was adopted by the IPA in 1989, he stipulated that the half-high and half-low letters may be combined with each other, but not with the other three tone letters, so as not to create spuriously precise distinctions. With this restriction, there are 8 possibilities.
The old staveless tone letters tend to be more restricted than the staved letters, though not as restricted as the diacritics. Officially, they support as many distinctions as the staved letters, but typically only three pitch levels are distinguished. Unicode supports default or high-pitch and low-pitch. Only a few mid-pitch tones are supported (such as ), and then only accidentally.
Although tone diacritics and tone letters are presented as equivalent on the chart, "this was done only to simplify the layout of the chart. The two sets of symbols are not comparable in this way." Using diacritics, a high tone is and a low tone is ; in tone letters, these are  and. One can double the diacritics for extra-high and extra-low ; there is no parallel to this using tone letters. Instead, tone letters have mid-high and mid-low ; again, there is no equivalent among the diacritics.
The correspondence breaks down even further once they start combining. For more complex tones, one may combine three or four tone diacritics in any permutation, though in practice only generic peaking (rising-falling) and dipping (falling-rising)  combinations are used. Chao tone letters are required for finer detail (, etc.). Although only 10 peaking and dipping tones were proposed in Chao's original, limited set of tone letters, phoneticians often make finer distinctions, and indeed an example is found on the IPA Chart. The system allows the transcription of 112 peaking and dipping pitch contours, including tones that are level for part of their length.
More complex contours are possible. Chao gave an example of (mid-high-low-mid) from English prosody.
Chao tone letters generally appear after each syllable, for a language with syllable tone, or after the phonological word, for a language with word tone. The IPA gives the option of placing the tone letters before the word or syllable, but this is rare for lexical tone. (And indeed reversed tone letters may be used to clarify that they apply to the following rather than to the preceding syllable:, .) The staveless letters are not directly supported by Unicode, but some fonts allow the stave in Chao tone letters to be suppressed.
Comparative degree
For example, the stress mark may be doubled to indicate an extra degree of stress, such as prosodic stress in English. An example in French, with a single stress mark for normal prosodic stress at the end of each prosodic unit (marked as a minor prosodic break), and a double stress mark for contrastive/emphatic stress: Entrez monsieur, voilà madame. Similarly, a doubled secondary stress mark  is commonly used for tertiary (extra-light) stress. In a similar vein, the effectively obsolete (though never retired) staveless tone letters were once doubled for an emphatic rising intonation and an emphatic falling intonation.
Length is commonly extended by repeating the length mark, as in English shhh!, or for "overlong" segments in Estonian: (Normally additional degrees of length are handled by the extra-short or half-long diacritic, but the first two words in each of the Estonian examples are analyzed as simply short and long, requiring a different remedy for the final words.)
Occasionally other diacritics are doubled:
Ambiguous letters
Another common ambiguity is among the letters for palatal consonants. and are not uncommonly used as a typographic convenience for affricates, typically  and, while  and  are commonly used for palatalized alveolar  and. To some extent this may be an effect of analysis, but it is common to match up single IPA letters to the phonemes of a language, without overly worrying about phonetic precision.
Among vowels, is officially a front vowel, but is more commonly treated as a central vowel. The difference, to the extent it is even possible, is not phonemic in any language.
For all phonetic notation, it is good practice for an author to specify exactly what they mean by the symbols that they use.
Redundant letters
Three letters are not needed and would be hard to justify today by the standards of the modern IPA, but are retained due to inertia. appears because it is found in English; officially it is a fricative, with terminology dating to the days before 'fricative' and 'approximant' were distinguished. Based on how all other fricatives and approximants are transcribed, one would expect either for a fricative (not how it is actually used) or  for an approximant. Indeed, outside of English transcription, that is what is more commonly found in the literature. is another historic remnant. It is a nearly universal allophone of before  and, but it is only phonemically distinct in a single language (Kukuya), a fact that was discovered long after it was standardized in the IPA. (A number of consonants do not have dedicated IPA letters despite being phonemic in many more languages.) is retained because of its historical use for European languages, where it could easily be normalized to. There have been several votes to retire from the IPA, but so far they have failed. Finally, is officially a simultaneous postalveolar and velar fricative, a realization that does not appear to exist in any language. It is retained because it is convenient for the transcription of Swedish, where it is used for a consonant that has various realizations in different dialects. That is, it is not actually a phonetic character at all, but a phonemic one, which is officially beyond the purview of the IPA alphabet; indeed, another phonemic IPA letter, for the homorganic nasal of Japanese, was retired because it had no defined phonetic value.
Superscript letters
Superscript IPA letters may be used to indicate secondary articulation; onsets, releases and other transitions; shades of sound; light epenthetic sounds and incompletely articulated sounds. In 2020, the IPA and ICPLA endorsed the Unicode encoding of superscript variants of all contemporary IPA letters apart from the Chao tone letters, including the extended retroflex letters, which were thus confirmed as being implicit in the IPA alphabet.
Superscript letters can be meaningfully modified by combining diacritics, just as baseline letters can. For example, a superscript dental nasal is, a superscript voiceless velar nasal is , and labial-velar prenasalization is. Although the diacritic may seem a bit oversized compared to the superscript letter it modifies, e.g., this can be an aid to legibility, just as it is with the composite superscript c-cedilla and rhotic vowels. Superscript length marks can be used to indicate the length of aspiration of a consonant, e.g. . Another option is to double the diacritic:.
Obsolete and nonstandard symbols
A number of IPA letters and diacritics have been retired or replaced over the years. This number includes duplicate symbols, symbols that were replaced due to user preference, and unitary symbols that were rendered with diacritics or digraphs to reduce the inventory of the IPA. The rejected symbols are now considered obsolete, though some are still seen in the literature.
Subhash Kak
Subhash Kak (1947 - ) ek Indian-American computer scientist aur poet hae. Uu ek philosopher aur Vedic scholar bhi have. Uu janma Srinagar, Kashmir hae.
Airspeed
Airspeed ek 1999 mein bana English film hain. Yea film USA, Canada mein Robert Tinnell ke direction mein bana tha. Yea film mein Elisha Cuthbert, Bronwen Booth, Joe Mantegna, Lynne Adams acting kiye the.
Sandharb
vibhag:Films
Subhash Kak
Reference
vibhag:Computer scientists
International Phonetic Alphabet
Obsolete and nonstandard symbols
The IPA once had several pairs of duplicate symbols from alternative proposals, but eventually settled on one or the other. An example is the vowel letter, rejected in favor of. Affricates were once transcribed with ligatures, such as (and others not found in Unicode). These have been officially retired but are still used. Letters for specific combinations of primary and secondary articulation have also been mostly retired, with the idea that such features should be indicated with tie bars or diacritics: for  is one. In addition, the rare voiceless implosives,, were dropped soon after their introduction and are now usually written. The original set of click letters,, was retired but is still sometimes seen, as the current pipe letters can cause problems with legibility, especially when used with brackets ([ ] or / /), the letter , or the prosodic marks. (For this reason, some publications which use the current IPA pipe letters disallow IPA brackets.)
Individual non-IPA letters may find their way into publications that otherwise use the standard IPA. This is especially common with:
In addition, it is common to see ad hoc typewriter substitutions, generally capital letters, for when IPA support is not available, e.g. A for, B for or , D for ,  or , E for , F or P for , G , I , L , N , O , S , T  or , U , V , X , Z , as well as @ for  and 7 or ? for. (See also SAMPA and X-SAMPA substitute notation.)
Extensions
The Extensions to the International Phonetic Alphabet for Disordered Speech, commonly abbreviated "extIPA" and sometimes called "Extended IPA", are symbols whose original purpose was to accurately transcribe disordered speech. At the Kiel Convention in 1989, a group of linguists drew up the initial extensions, which were based on the previous work of the PRDS (Phonetic Representation of Disordered Speech) Group in the early 1980s. The extensions were first published in 1990, then modified, and published again in 1994 in the Journal of the International Phonetic Association, when they were officially adopted by the ICPLA. While the original purpose was to transcribe disordered speech, linguists have used the extensions to designate a number of sounds within standard communication, such as hushing, gnashing teeth, and smacking lips, as well as regular lexical sounds such as lateral fricatives that do not have standard IPA symbols.
In addition to the Extensions to the IPA for disordered speech, there are the conventions of the Voice Quality Symbols, which include a number of symbols for additional airstream mechanisms and secondary articulations in what they call "voice quality".
Associated notation
Capital letters and various characters on the number row of the keyboard are commonly used to extend the alphabet in various ways.
Capital letters
Full capital letters are not used as IPA symbols, except as typewriter substitutes (e.g. N for, S for , O for – see SAMPA). They are, however, often used in conjunction with the IPA in two cases:
Wildcards are commonly used in phonology to summarize syllable or word shapes, or to show the evolution of classes of sounds. For example, the possible syllable shapes of Mandarin can be abstracted as ranging from (an atonic vowel) to  (a consonant-glide-vowel-nasal syllable with tone), and word-final devoicing may be schematized as  → /_#. In speech pathology, capital letters represent indeterminate sounds, and may be superscripted to indicate they are weakly articulated: e.g. is a weak indeterminate alveolar,  a weak indeterminate velar.
There is a degree of variation between authors as to the capital letters used, but for {consonant},  for {vowel} and  for {nasal} are ubiquitous in English-language material. Other common conventions are for {tone/accent} (tonicity),  for {plosive},  for {fricative},  for {sibilant},  for {glide/semivowel},  for {lateral} or {liquid},  for {rhotic} or {resonant/sonorant},  for {obstruent},  for {click},  for {open, front, back, close, rounded vowel} and  for {labial, alveolar, post-alveolar/palatal, velar, uvular, pharyngeal, glottal consonant}, respectively, and  for {any sound}. The letters can be modified with IPA diacritics, for example for {ejective},  for {implosive},  or  for {prenasalized consonant},  for {nasal vowel},  for {aspirated CV syllable with high tone},  for {voiced sibilant},  for {voiceless nasal},  or  for {affricate},  for {palatalized consonant} and  for {dental consonant}. ,, are also commonly used for high, mid and low tone, with  for rising tone and  for falling tone, rather than transcribing them overly precisely with IPA tone letters or with ambiguous digits.