The Amharic language is the Official language of over 70 million people mainly in Ethiopia. An extensive literature survey and the government report reveal no single Amharic character recognition is found in the country. The Amharic script has 33 basic characters each with seven orders giving 310 distinct characters, including numbers and punctuation symbols. The characters are visually similar; there is a typeface, but no capitalization. Beside this there is no any standard font to use the language in the computer but they use different fonts developed by different stakeholders without keeping a standard on their own way and interest and this create a problem of incompatibility between different fonts and documents.This project is to investigate the reason why Amharic optical character recognition is not addressed by local and international researchers and developers and finally to develop Amharic optical character recognition uses the features and facilities of Microsoft windows Vista or 7 using Unicode standard.

Inaug.-Diss.--Leipzig. / Vita. "Index librorum": p. 5-6.

Inaug. diss.--Tübingen. / Lebenslauf. "Literatur": p. [3-4].

No description available.

<p> This dissertation explores the work of Colombian writer Evelio Rosero (1958), whose work-like many of his nation's generation, but with a radically new aesthetic and ethic proposal&mdash;focuses on violence and on the disappearance of people in the context of the armed conflict that has ravaged Colombia for the last thirty years. </p><p> Despite having a long and consistent literary career that started in the early eighties and having received prestigious awards, Rosero continues to be almost unknown both nationally and internationally. My dissertation contends that such lack of recognition is serious and that current conversations about Colombian literature and the representation of violence more broadly cannot be done without taking into account his disruptive work. Through a careful analysis of Rosero's most representative novels&mdash;<i>Se&ntilde;or que no conoce la luna, En el lejero and Los Ej&eacute;rcitos</i>&mdash;I examine the literary techniques the author uses to produce a space&mdash;both literary and political&mdash;that neither justifies nor exacerbates violence. </p><p> Based primarily on the concept of the spectral put forth by Jacques Derrida in <i>Specters of Marx,</i> on Mieke Bal's position on political art and on Jean-Luc Nancy's construction of rebellion in <i>Noli me tangere, </i> I demonstrate how Rosero's novels highlight the discourses and mechanisms that put into place and even sanction the violence they supposedly lament. </p><p> The dissertation is divided in three chapters. Chronologically organized, each one examines one of Rosero's most representative novels. </p><p> In the introduction I contextualize Rosero's literary work within the larger efforts to represent Colombia's violent situation. I argue that by focusing on disappearance, ambiguity and spectrality Rosero avoids the most common and problematic pitfalls of such texts. I take the position that by doing so Rosero gives visibility to the many ways in which a state of violence is (re)produced and represented -both aesthetically and politically&mdash;signalling a complicity (not necessarily deliberate) between the two. </p><p> The first chapter analyzes <i>Se&ntilde;or que no conoce la luna. </i> I argue that by focusing in the way los vestidos enslave and torture los desnudos due to their dual genitalia, Rosero shows the artificiality and arbitrariness of our social constructions and highlights how they are used to infringe extreme violence to a particular group of people. I contend that in the unregulated circulation of erotic desire Rosero finds a way out of this structure of abjection. </p><p> The second chapter deals with the radical "spectralization" that takes place in <i>En el lejero.</i> I take the position that Rosero's emphasis on the difficulty of identifying people and spaces, and his refusal to stabilize meaning are effective tools in dismantling a system of oppression and violence while opening a space for agency and solidarity. </p><p> The third and last chapter studies Rosero's most famous novel, <i> Los Ej&eacute;rcitos.</i> I read the novel's contrast between moments of intense visibility and instances of extreme obscurity and confusion as a way to underscore the violent nature of certain ways of looking at things and people. Rosero's insistence in our bonds with, and responsibility towards, what can no longer, not yet, be seen or heard is key to create a space for the political that is not based on violence and exclusion. </p><p> To conclude, I argue that through Jacques Derrida's "impure impure history of ghosts" Rosero develops an aesthetically astonishing and politically crucial way of re-counting and accounting for the violence that a prolonged state of warfare continues to (re)produce in Latin America.</p>

<p> Esta disertaci&ocirc;n conecta la teorfa de la transculturaci&ocirc;n narrativa de &acute;Angel Rama con la tradici&ocirc;n intelectual latinoamericana que aport&ocirc; sus caracterfsticas m&acirc;s distintivas. Las teorfas de Rama fueron influidas por dos tradiciones latinoamericanas. Una es de car&acirc;cter polftico y tiene su origen en la Reforma de C&ocirc;rdoba de 1918. La otra, de car&acirc;cter epistemol&ocirc;gico y se remonta a la d&eacute;cada de 1930, cuando comienza el culturalismo en Latinoam&eacute;rica. Mi investigaci&ocirc;n se ocupa de un grupo de intelectuales uruguayos que trabajaron en torno al semanario <i>Marcha</i> [1939-1974]: Carlos Quijano [1900-1984], Julio Castro [1908 -desaparecido en 1977] y Arturo Ardao [1912-2003]. Tambi&eacute;n me ocupo de dos intelectuales brasile&tilde;nos, Antonio C&acirc;ndido [1918] y Darcy Ribeiro [1922-1997], quienes continuaron con la tradici&ocirc;n culturalista que inauguraron en Latinoam&eacute;rica autores como Gilberto Freyre [1900-1987] y Fernando Ortiz [1881-1969]. Recuperar las redes intelectuales que acompa&tilde;naron el proceso de articulaci&ocirc;n de la transculturaci&ocirc;n narrativa nos permite comprender mejor las tesis de Rama por dos razones. Primero, porque enmarca esta teorfa dentro de algunos de los debates polfticos y culturales m&acirc;s importantes de la Guerra Frfa. Y segundo, porque se aproxima a la manera como Rama comprendi&ocirc; la historia latinoamericana y su coyuntura polftica y socio-cultural durante las d&eacute;cadas de 1960 y 1970. </p><p> El objetivo de la teorfa de la transculturaci&ocirc;n narrativa es describir el proceso por el cual las manifestaciones literarias latinoamericanas pasan de la dependencia a la autonomia cultural. Como el proceso descrito se despliega dentro de la estructura social, para comprenderlo es necesario analizar la interacci&ocirc;n entre las obras literarias y la sociedad que las rodea, de esta forma las ciencias sociales &ndash;antropologia, sociologia, economia&ndash; son instrumentos de an&acirc;lisis indispensables para comprender una obra o tradici&ocirc;n literaria. Este marco general de an&acirc;lisis es descrito por Rama como el culturalismo. </p><p> En el caso de Rama, una lectura desde los estudios literarios puede dar por sentado que el culturalismo fue tan s&ocirc;lo un m&eacute;todo de an&acirc;lisis alternativo al estructuralismo franc&eacute;s. Aunque esta perspectiva sea en parte correcta, no es del todo precisa. El culturalismo al que se refiere Rama es el mismo que practicaron los cientistas sociales en Latinoam&eacute;rica desde la d&eacute;cada de 1930. Recuperar la historicidad de la transculturaci&ocirc;n narrativa no solo nos permite comprender la genealogia de esta teoria sino recuperar y hacer visibles algunas tradiciones intelectuales contra-hegem&ocirc;nicas que desarticul&ocirc; la Guerra Fria en Latinoam&eacute;rica.</p>

Adolfo Bioy Casares es uno de los escritores mas relevantes que ha dado la literatura argentina aunclue muchas veces la critica lo ha olvidado considerandolo solo una prolongacion de uno de sus mas intimos amigos: Jorge Luis Borges. Tambien se lo ha acusado de escribir una literatura de evasion, desrealizadora y muy poco comprometida con la realidad. Este trabajo muestra las profundas conexiones que la obra de Bioy--especialmente seis de sus siete novelas publicadas hasta ahora--tiene con la realidad historica y social de la Argentina. Para ello se rastrean tres motivos de la topica literaria pero que aluden directamente a esta realidad que se ha mencionado. Me refiero al tema central de civilizacion y barbarie unido al motivo del viaje y al mito de la valentia. La recurrencia de estos motivos, de radical importancia en la cultura y la historia de este pais representa en las novelas de Bioy Casares el autocuestionamiento del autor frente a la realidad y tambien la estructura social generadora del texto.

No description available.

<p> This dissertation is a social history regarding moviegoing and film audiences in Cali, Colombia, from the 1940s through the 1970s that aims to explore the meaning of movies in relation to the broader historical context and field of social forces in which they existed. This analysis of the intersection of the actual material conditions of existence of film-related practices and social imaginaries about movies is developed taking into account three main elements. The first one is the definition of film audiences by their film preferences, moviegoing practices, and socio-demographic characteristics. The second aspect is the role that moviegoing and moviegoing-related activities had within the broader cultural and political positioning of the filmgoers in relation to personal and collective, urban identities as demarcated by social class, age, and gender. The third element has to do with the geopolitical positioning of Cali, which poses very specific inquiries into the context of a non-capital city of a so-called underdeveloped country in Latin America. The analysis of these three aspects permit us to acknowledge and understand how moviegoing, the activities related to it, and the ways in which people thought of themselves as film spectators intertwined with urban, cultural, and political dynamics in modes that defined the diverse yet connected ways in which people identified themselves as urbanites, dealing with the conflicts between tradition and modernity in the historically and geographically situated context of an "underdeveloped" country and its struggles to reach the much desired and elusive modernity.</p>

This is a study of the substantival medical terminology of Aulus Cornelius Celsus (early 1st c.) and Cassius Felix (mid 5th c.), in the fields of Anatomy and Physiology; Pathology; and Therapeutics. Two broad questions are considered: (1) What were the possible and the preferred means of extending the Latin vocabulary in these technical areas in the first and the fifth century A.D.? (2) May any linguistic features be identified as proper or peculiar to Latin medical - or, more generally, technical - terminology? Chapter 1 presents a general characterisation, based on examples of medical language, of modern technical terminology. Certain features of the structure and composition of the modern terminology are observed also in our Latin authors, especially in Cassius Felix. Chapters 2-5 focus each on one linguistic means of term-formation in Celsus and Cassius Felix. These are (Ch.2:) the use of Greek medical terms within the Latin terminology; (Ch.3:) the use of semantic extension, that is the deployment of established Latin words with new, medical reference (sutura 'stitching' → 'cranial suture'); (Ch.4:) the minimal use of compounding (dentifricium 'tooth-rub'), and the use as single terminological units of lexicalised Noun Phrases, Noun + Adjective (ignis sacer a type of skin-disease) or Noun + Genitive (difficultas urinae 'dysury'), here called "Phrasal Terms"; (Ch.5:) the favouring of certain suffixes in deriving Nouns (and some Adjectives) and the striking correlation between suffix and the lexical-semantic field of the derivative (-or and clinical signs and symptoms: dolor, rubor). Chapter 6 presents comparative figures for the two authors and a general working hypothesis that emerges: namely that divergences between Cassius Felix and Celsus may be interpreted as symptoms of the development of a Latin technical medical terminology (notably the integration of Greek and Latin terminology; reduction in the use of non-metaphorical polysemy; increased use of Phrasal Terms in fixed word order; extended use of suffixation to signal the semantic organisation of the terminology and, additionally, to form nominalisations as part of the development of a heavily-nominal style). A programme is adumbrated for testing this hypothesis. Volume II contains brief historical introductions to Celsus and Cassius Felix, the authors and their works; a Glossary of their medical terminology in three parts (ANATOMY and PHYSIOLOGY; PATHOLOGY; THERAPEUTICS); and full word indexes to both authors listed on microfiche.