Linguistic glob

The continuation of the symbolic of Q An Analysis of the Phoenician Letter Qoph (𐤒): Form, Function, and Symbolic Semantics The Phoenician letter qoph (𐤒), ancestor of Greek koppa (Ϙ) and Latin The origin of the qoph glyph shape is uncertain. It is usually suggested that it originally depicted: a sewing needle, specifically the eye of a needle (Hebrew קוף quf and Aramaic קופא qopɑʔ both refer to the eye of a needle), or the back of a head and neck, as Arabic qāf meant “nape.” Among these proposals, the “eye of a needle” interpretation offers a particularly consistent explanation when examined from both morphological and functional perspectives. 1. Morphological Structure: O + I In its schematic form, qoph can be analyzed as a composite of: a circular element (O) , and a linear element (I) intersecting or emerging from it. This configuration corresponds closely to the eye of a needle , where: O represents the opening or eye, I represents the thread passing through...

The “Evil Eye” Mosaic from Antioch Roman period, Antioch (Antakya) Hatay Archaeology Museum, Inv. no. 1024 1. Description of the Mosaic The mosaic depicts a single, oversized eye at the center of the scene. This eye is subjected to multiple, simultaneous attacks: It is pierced by a trident and a sword , Pecked by a raven , Bitten by a dog , Stung by a scorpion , Attacked by a cat and a snake . Below the eye appears a horned dwarf with an exaggerated phallus , crossing two sticks. Such figures are well known in Roman and Near Eastern apotropaic art and are associated with fertility, ridicule, and magical inversion , all intended to neutralize harmful forces. The entire composition belongs to a widespread apotropaic tradition in the ancient Mediterranean, in which hostile images are deployed to counteract the destructive power of the evil eye . 2. Mainstream Interpretation of the Inscription The inscription above the scene is conventionally read in Greek as: ΚΑΙ ΣΥ ( ...

The name Priam (Πρίαμος) has an uncertain etymology that Ancient Greek alone does not fully explain. Most scholars derive it from the Luwian form Pa‑ri‑a‑mu‑a‑ (𒉺𒊑𒀀𒈬𒀀), interpreted as “exceptionally courageous” in an Anatolian context and attested in Kizzuwatna, with related Greek forms such as Paramoas near Kaisareia in Cappadocia. Some researchers have tentatively linked Priam with the warlord Piyama‑Radu mentioned in Hittite texts, though this identification remains disputed. A later Greek folk etymology connects the name with the verb príamai (“to buy”), reflected in the myth of Priam’s ransom by his sister Hesione; however, these accounts postdate the earliest attestations of the name and are generally regarded as secondary. Within the Homeric tradition, Priam’s role as king reinforces semantic associations with primacy, as the ruler occupies the foremost position in society. From a comparative and symbolic perspective, the name may be tentatively segmented as PRI + IAM...

Poetic-mythical-symbolic-linguistic prose with the language of Kastriot Melyshi The name Jesus does not stand still. It moves. It moves the way a center moves when it decides to appear. In Greek it is Iēsous , in Hebrew Yehōshūaʿ — “God saves,” they say. But salvation is only the surface word. Beneath it, something older stirs: the act of entering . In Albanian, God may be called hyu . Not ruler, not master— only being . A sound as small as a point, [o], the origin before extension. Nothing is commanded here; everything simply is . Yet the point cannot remain unseen. Being longs to descend. So it becomes bir — the Son, the one who falls ( bie ), not into error, but into the world. Descent is not loss; it is revelation. To fall is to enter. And to enter is to be brenda . But brenda is a dangerous word. It carries a split within it: the kernel and the division, the center and the breaking ( nda ). A God who enters risks fracture. A God who divides risks...

The Possible Albanian Origin of the Name “Hector”: A Linguistic Hypothesis Abstract This paper explores the hypothesis that the name of Hector, the Trojan prince, may derive from the Albanian verb TERHEK (“to drag”), reflecting a significant event described in the Homeric epics: the posthumous dragging of Hector’s corpse by Achilles. The analysis situates this discussion within linguistic, historical, and cultural contexts, suggesting that certain mythological names may have originated from actions or traits that left lasting impressions in oral memory. This hypothesis challenges conventional Greco-Roman etymologies and invites reconsideration of the influence of early Albanian linguistic traditions on Homeric texts. 1. Introduction In mythological narratives, personal names often emerge not as birth-given identifiers but as descriptors of deeds, traits, or social roles.¹ Hector, son of Priam and leader of the Trojans, occupies a central role in the Iliad . One of the most memora...

The Phonological Origin of * bhə The Albanian grapheme ë (schwa) functions as an independent vowel, signaling that the phoneme /ə/ is articulated separately rather than forming a diphthong or merging with an adjacent vowel. This can be observed in forms such as bej ‘to do’ in the Myzeqar dialect, bëj in standard Tosk, and bo/ba in Gheg. In contrast, the visually similar German diaeresis (Umlaut) performs a different function: it marks a systematic fronting or raising of the vowel (e.g., e → ä ), indicating its historical role as a phonologically active diacritic that modifies the quality of the base vowel. Within this context, I propose a hypothetical proto-form *bhə , belonging to an early developmental phase of the language when vowel articulation was limited and consonantal sonority carried a greater share of phonological weight. As the language evolved toward greater vocalization, this form may have passed through intermediate stages such as *bhə + o → bò , reflecting a grad...

The Ontology of Ò: When Seeing Becomes Being. What is the Gegnisht Ò —the ancient vowel later reshaped into À , now appearing simply as “is” in modern Albanian? At first glance, it seems no more than a grammatical fragment, a small functional particle in the machinery of speech. Yet such a view misses the essence, for the Ò is not merely a phonetic residue: it is a remnant of the primordial event in which language first approached the task of naming Being . It is a hinge on which the movement from hiddenness to presence turns. Through this diminutive syllable, countless Albanian nouns and adjectives have taken shape. Across the broader Indo-European horizon, its structure reappears in the marked forms of nouns and, ultimately, in the very architecture of the word exist . These correspondences are not accidental. They are signs of an older ontology inscribed into sound. The Origin of Ò: The First Act of Seeing Where does this enigmatic Ò arise from? Before a word was spoken, ...