The Albanian language has a number of different concepts and combinations that help in the formation of words. In some cases, there are interactions between vowels and consonants, and this is what is revealed by the analysis of the linguistic code. Some words have pictographic origins and focus on combining concepts.
For example, the words "Zverk" (back of the neck) and "Za" (voice) are based on the same concept, but use different code changes. Also, the "K", "G" and "Z" codes have different combinations of their words and symbols. And in some cases, the concepts of association and ownership are expressed through code in the form of "KA", "GA" and "BA".
Ultimately, it is important to understand that the Albanian language has a deep linguistic richness and that the analysis of the linguistic code can help us understand the interweaving of concepts and the formation of words. Most of today's alphabetic concepts come from the first writen of the Albanian language, the Vinca language.
While G=Z not only as a phonetic transition G>D>TH>S>Z but also conceptually.
Zverk=Gusha( neck) is the part that joins the head to the body. They are words of pictographic origin. The Albanian language reveals them simply because it says:
Z-Vër(place) or G-Z (Z connection) The vowels between the consonants do not carry any meaning in these words.
And Zverk, Gusha (neck) do not have any codic distinction from *ngjis (glue) or *gjizë (curd). All three say GZ, where i>l and g>c and z>s>th>d for the English words. The Albanian dialects give you simply the phonetic transformation. The Geg Albanian gojë (mouth) is golë in Tosk Albanian.
For example, the words "Zverk" (back of the neck) and "Za" (voice) are based on the same concept, but use different code changes. Also, the "K", "G" and "Z" codes have different combinations of their words and symbols. And in some cases, the concepts of association and ownership are expressed through code in the form of "KA", "GA" and "BA".
Ultimately, it is important to understand that the Albanian language has a deep linguistic richness and that the analysis of the linguistic code can help us understand the interweaving of concepts and the formation of words. Most of today's alphabetic concepts come from the first writen of the Albanian language, the Vinca language.
While G=Z not only as a phonetic transition G>D>TH>S>Z but also conceptually.
Zverk=Gusha( neck) is the part that joins the head to the body. They are words of pictographic origin. The Albanian language reveals them simply because it says:
Z-Vër(place) or G-Z (Z connection) The vowels between the consonants do not carry any meaning in these words.
And Zverk, Gusha (neck) do not have any codic distinction from *ngjis (glue) or *gjizë (curd). All three say GZ, where i>l and g>c and z>s>th>d for the English words. The Albanian dialects give you simply the phonetic transformation. The Geg Albanian gojë (mouth) is golë in Tosk Albanian.
How it is possible phonetically the change I>L>R?
Today's linguists and etymology are 1000 years behind compared to what the Albanian language contains and what I have discovered in the Albanian language, not all unfortunately.
ZV=GU.
There are two different ways of writing the same word.
V=U, Z=G.
The Albanian language has the words gur/stone, but we also have zall/gravel, shingle, grit .
GUR=ZAL,
G=Z,
L=R
and O>U and O>A.
They look like two different words but it's the same code which is also to the English words *gravel and *grit which come from the Albanian word *gur as well. Occupancy of elements together or their union into a single one.
ZV=GU.
There are two different ways of writing the same word.
V=U, Z=G.
The Albanian language has the words gur/stone, but we also have zall/gravel, shingle, grit .
GUR=ZAL,
G=Z,
L=R
and O>U and O>A.
They look like two different words but it's the same code which is also to the English words *gravel and *grit which come from the Albanian word *gur as well. Occupancy of elements together or their union into a single one.
So, *neck or *gusha is the linguistic object that joins the head to the body. The main code is the G or the Z, which come from an abstraction of a simple pictographic code, two I's that merge into a single I.
Look at the so-called "Greek" G today, look at the so-called Phoenician Z today.
Look at the legs and arms of the man.
Are they K, G or Z?
They are K, the part of the body with the legs rotated, symbolized, but they are also G, which today is called "Greek", but they also carry the body, which is the code of B, which comes from the concept of "B" today called writing Egyptian, the foot symbol.
So at least two codes were used in them.
The above all constitutes a very complicated view of language formation, not at all primitive as given by today's etymology. Phonetics helps to establish a fair relationship between them. Phonetic on the other hand proves that they are related, not just pictographic.
Phonetically G>K, and G>Z.
So kamba(leg) and gamba (leg) are two independent formations for the same object created in the time one, but they can also come as a transformation of K to G.
Look at the so-called "Greek" G today, look at the so-called Phoenician Z today.
Look at the legs and arms of the man.
Are they K, G or Z?
They are K, the part of the body with the legs rotated, symbolized, but they are also G, which today is called "Greek", but they also carry the body, which is the code of B, which comes from the concept of "B" today called writing Egyptian, the foot symbol.
So at least two codes were used in them.
The above all constitutes a very complicated view of language formation, not at all primitive as given by today's etymology. Phonetics helps to establish a fair relationship between them. Phonetic on the other hand proves that they are related, not just pictographic.
Phonetically G>K, and G>Z.
So kamba(leg) and gamba (leg) are two independent formations for the same object created in the time one, but they can also come as a transformation of K to G.
We cannot know exactly if we do not know the language from this point of view. Also K, G and B express ownership that comes from the concept of connection, union that they have as their first conceptual foundation when they were just pictograms. KA=GA=BA where A is irrelevant. The code is multidimensional as is the image. It is not for nothing that they say a picture is worth 1000 words.
But a closed, covered thing, a square that children paint today, is symbolized only by Z, KA Z-ne becomes KAZA but also Z-Të-BI, "do Z-ne" which is again home, or Z -BERA that today is a cave.
And square or square, are a statement of Z in a different way, and it comes from the codes KA T-RO, KA O with T and the R is auxiliary as a code, it symbolizes the roundness but of an O with angles, where angles are created by D or T, the phonetic transformation of D, (triangular D), closed with angles. And this word has the same code as GONE, KATUA, KATUN, KEND (KOND-KONT), KUTI, KUSI, KUP, etc.
We have circular O, but we also have O with D, or more angles that start with a square.
From G>D and N>M, we have GONE which phonetically becomes a DONE>DOME>DHOME but comes from a GO.
What is the difference between GONEJA, BOX, KUPA, KUSIJA, ROOM and MOUTH pictographically?
But a closed, covered thing, a square that children paint today, is symbolized only by Z, KA Z-ne becomes KAZA but also Z-Të-BI, "do Z-ne" which is again home, or Z -BERA that today is a cave.
And square or square, are a statement of Z in a different way, and it comes from the codes KA T-RO, KA O with T and the R is auxiliary as a code, it symbolizes the roundness but of an O with angles, where angles are created by D or T, the phonetic transformation of D, (triangular D), closed with angles. And this word has the same code as GONE, KATUA, KATUN, KEND (KOND-KONT), KUTI, KUSI, KUP, etc.
We have circular O, but we also have O with D, or more angles that start with a square.
From G>D and N>M, we have GONE which phonetically becomes a DONE>DOME>DHOME but comes from a GO.
What is the difference between GONEJA, BOX, KUPA, KUSIJA, ROOM and MOUTH pictographically?
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