Lesson 21: Your Turn 3
lesson 21/70 on the laadanlanguage.org reference website
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Lesson 21: Your Turn 3
Summary
Lesson 21: Your Turn 3 is a lesson[1].
Key Facts
- Lesson 21: Your Turn 3's instance of is recorded as Your Turn 3 — instance of (P31): lesson[2].
- Lesson 21: Your Turn 3's instance of is recorded as Your Turn 3 — instance of (P31): scholarly chapter[3].
- Lesson 21: Your Turn 3's follows is recorded as Your Turn 3 — follows (P155): Lesson 20: Translation 3[4].
- Lesson 21: Your Turn 3's followed by is recorded as Your Turn 3 — followed by (P156): Lesson 22: Advanced Pronouns[5].
- Lesson 21: Your Turn 3's part of is recorded as Your Turn 3 — part of (P361): laadanlanguage.org[6].
- Lesson 21: Your Turn 3's language of work or name is recorded as Your Turn 3 — language of work or name (P407): English[7].
- Lesson 21: Your Turn 3's language of work or name is recorded as Your Turn 3 — language of work or name (P407): Láadan[8].
- Lesson 21: Your Turn 3's main subject is recorded as Your Turn 3 — main subject (P921): literary composing[9].
- Lesson 21: Your Turn 3's work available at URL is recorded as http://laadanlanguage.org/21.html#top[10].
- Lesson 21: Your Turn 3's title is recorded as Lesson 21: Your Turn 3[11].
- Lesson 21: Your Turn 3's first line is recorded as Along with lhith, lhitharil and lhitheril (above) came “litheril” (reminisce) [lith (think) + eril (PAST)] and “litharil” (anticipate) [lith (think) + aril (FUT)].[12].
- Lesson 21: Your Turn 3's last line is recorded as The overriding reason it’s that way in this story is because the “loláad” structure takes as its Object the emotion felt (the one toward whom it is felt is presented in a Case we’ve not yet seen); using the emotion as the verb allows the one toward whom it is felt to be the Object.[13].
- Lesson 21: Your Turn 3's copyright status is recorded as Your Turn 3 — copyright status (P6216): no known copyright restrictions[14].
- Lesson 21: Your Turn 3's quotation or excerpt is recorded as English has many, many tenses and modes; its narrative tradition is to put a story’s action in the past, invoking many of its tenses to adjust to this tense-shift. In comparison, Láadan’s set of tenses is fairly limited.[15].